Elizabeth Beggan Portfolio

Marist senior Alice Tirakian starts every morning with an iced matcha in hand with soft French jazz playing in the background. Wearing her black trim-laced pajamas, she flips through Vogue France and plans her very busy day. Her room, four walls painted eggshell white, are accented with French sketches and notes from friends and family. She takes her time doing her makeup and packing her bag for the day. Tirakian leaves, shutting the door knowing she won’t return until after the sun sets. 

As a communications major with concentrations in public relations and advertising along with minors in French and fashion merchandising, her interests are particular to creativity and interpersonal relationships. Marist has always been Tirakian’s first choice for higher education. After she was initially waitlisted, she emailed and emailed… and emailed her way into Champagnat Hall freshman year. “I loved the small, tight-knit community that Marist offered,” Tirakian said. 

Tirakian made herself say yes to every opportunity on campus once clubs began to meet. She attended North Road Communications, Dance Ensemble and Student Ministry — at all of which she has stuck. She advanced steadily within NRC. Starting as an account representative, she rose to director of media relations, to global firm director when she took a semester in Paris the fall of her junior year, and now, to senior firm director. 

NRC has given Tirakian a space to collaborate with other like-minded students regarding the communications industry. As global director, she managed teams from all over the world. From Florence, London and Costa Rica, Tirakian worked with an Italian non-profit to help those with disabilities move around the city more seamlessly. “I even visited Florence and attended one of their events—it was a tactile museum experience for blind visitors. It was amazing to be part of that,” she said.

Her approach to leading a team has been a culmination of those before her. “I’ve learned that leadership requires understanding,” Tirakian said. “I’ve also learned that being kind and respectful is way more effective than being authoritative. You can be assertive without being mean.”

She makes sure to allocate time for one-on-one time with new projects to help new members feel at ease. “I didn’t want a hierarchy, I wanted a collaboration,” Tirakian said. “PR is collaborative. My favorite moments were brainstorming with my team—everyone contributing ideas together. That’s when the best work happens.”

Dance has always been a strong part in Tirakian’s life. Dancing since she was a little girl, it was inevitable that she would find comfort in the ever-so welcoming dance ensemble that Marist offers. She found that through the late nights of dancing and finding a rhythm with the other students, it would turn into her escape from a packed schedule. 

After many semesters of learning other routines, Tirakian sought after her dream of choreographing her own. With her choreographing partner, senior Alyssa Puentes, they chose to use the song “Maria,” by Justin Bieber. Students ranging from freshmen to seniors put their creative trust in Tirakian and Puentes for an outstanding routine. “She truly has made dance ensemble a place I can go to feel good, and has created an environment where all her dancers are comfortable showing up, asking for help, and laughing through the struggles,” said freshman dance member Lila Laub. 

Tirakian resides in Great Neck Long Island where her parents, Hasmik and Khajak raised her. Growing up, she and her older brother, Serop, were brought up in a traditional Armenian household. Both parents trekked their own journey from Armenia in order to live out the American Dream before having a chance meeting at a wedding in Boston.

Hasmik arrived in Boston in 1997 to help her sister with her newborn baby. While juggling three jobs and nannying her niece, Hasmik attended English classes. Khakak, who’s also known as John, started waiting tables along with a dozen other odd-jobs in Astoria, Queens to save enough money for starting his own company. The drive is generational, and it’s no exception to Tirakian.

Khajak, after one might say, a moment of inspiration, found closure in building a wine cellar. The cellar is crammed, top to bottom, red to white. But soon after discovering his irrevocable love for pizza making, the cellar has now transformed strictly into a space for card games. “He calls himself ‘pizza yolo’ when he’s making pizza, he’s super focused, you can’t even talk to him,” Tirakian said. 

He takes it so seriously, during trips to Naples, Italy he often found himself behind the pizza oven, learning new ways and improvements on the art. 

The Tirakian family constantly travels to Armenia when given the opportunity. Alice herself has been almost 10 times, and without fail, as soon as the 19-hour travel day is coming to a close, tears of joy flood down her face. “Every time I land, I cry, and so does my mom. It just feels like home,” Alice said. “Even strangers get emotional, it’s powerful.”

Her Armenian roots are what keeps Tirakian ambitious, tenacious and determined. The trips surrounded by caring and warm people remind her of what she’s working so hard for at Marist. The country of Armenia, through years and years of conflict against other nations for more than one hundred years, finds salvation in each other. “We have to take care of each other and ourselves,” Tirakian said. 

“Armenians are known for being resilient. We’ve gone through a lot—constant persecution. Armenia is in a tough geographic position, always under threat as a small nation dependent on larger allies.”

Armenian culture revolves around  art and family. “The people there are so full of life, it’s refreshing compared to here,” Tirakian said. Amidst her busy schedule, she often turns back to her moments in the Armenian countryside with the tranquility and placidity it offers. 

In the midst of her creative pursuits, Tirakian credits her Armenian upbringing for her dedication. “Armenians’ form of resilience is joy: being happy, working hard, pursuing passions like art and music. That mindset shapes my work ethic. I know how much my family sacrificed. I’m a descendant of survivors, I’m not going to waste that,” Tirakian said. 

She’s meticulous in all of the work she produces and pushes herself to a rigorous standard and never settles for less.The pressure to succeed is there, and when it comes to confronting the demanding schedule, she turns to her heritage for support. “Education is huge in Armenian culture. My parents didn’t go to university, so for me and my siblings, it wasn’t optional — we had to go,” Tirakian said. 

Tirakian is no stranger to creative burnout, in fact, she even has curated a list of options to help her out of it. “I love being busy, but balance is everything,” she said. When she enters her dance rehearsal space wearing a Knicks jersey, mismatched socks and a high bun on her head, the rest of her responsibilities stay at the door. “Dance is what recharges me, when I’m in the studio I forget everything else.”

What motivates her to keep going isn’t just receiving the best job out of college or switching her red tassel the day of graduation — it’s awareness of how lucky she is. With seeing things through an international lens, Tirakian has a deep understanding of her privilege of being at Marist. “There are people with the same ability who don’t have my opportunities. That pushes me to set high standards.”

When she finally returns to her fluffy white bed with a Degas painting hanging over it, she takes a moment to reflect. Tirakian is a believer that self-reflection is the catalyst for growing, and in doing so she has. Self-reflection while giving herself grace and without negativity or impatience is how she gained confidence in herself. “I believe everything meant for me will find me. I trust God’s plan, and I know I have the tools, I just have to go get it,” Tirakian said.

A movie that she often falls back on is “Rio,” relating to the character “Blu.” Through dozens of rewatches and dissections, she concludes that the Blu Bird Sanctuary is what Armenia means to her. The film ends with “Blu” finally returning back home to the sanctuary with the other blu birds, allowing for an exhale moment and celebration. “That is what I feel, that is mine, that is my country and those are my people,” Tirakian said. 
Armenia is her oasis and although she can’t return for a ways away, purchasing Armenian cuisine from the local Poughkeepsie market, reading poems by Armenian authors, and of course, surrounding herself with her family making lavash, those little moments bring her just a little bit closer to her Blu Bird Sanctuary.

President Donald Trump and his Department of Defense have limited the media’s ability to report on the U.S. Military. Representatives of numerous news organizations have been going through a back-and-forth with the Pentagon since Sept. 18 regarding the department’s first released set of restrictions in an extended memo. Reporting within the Pentagon before the ruling was consistent and predictable, with relationships between journalists and military officials open but full of tension. Over 100 journalists with credentials to cover the Pentagon have been threatened with their credentials being taken away, killing the messengers who are asking the questions Americans need answers to. 

The memo was first sent on Sept. 18 claiming that the Pentagon was committed to accountability and transparency but soon contradicted itself due to implementing a set of restrictions that drew criticism from news organizations. The content of the memo included clarification on entry points into the Pentagon, parking specifics, and requiring reporters to have their coverage approved by the government. Failure to adhere to the requests would result in a revocation of press passes. 

Director of Advocacy at the Freedom of the Press Foundation Seth Stern has said the memo “operates as a prior restraint on publication which is considered the most serious of First Amendment violations,” for the NYT. The dozens of journalists who cover the military were given one week to decide if they intended to sign the form. Their signature would cement and acknowledge that they had read and understood the agency’s policy. Following the memo, journalists signed a pledge to not gather information such as unclassified reports that have not been released by the government. 

Since then, major reputable broadcast networks have announced that they will not sign to agree to the requests from the Department of Defense. The Atlantic, The Associated Press, The Guardian, Newsmax (Trump aligned outlet), NPR, Reuters, The New York Times, The Wall Street Journal and The Washington Post, NBC News, ABC News, CBS News, CNN, and Fox News Media(Trump aligned outlet) have denied the requests. 

Defense Secretary Pete Hegseth has taken to X, clogging feeds with endless tweets about his stance on the matter. “Pentagon access is a privilege, not a right,” he tweeted.

Americans are now found directionless on where to find out where their tax dollars are going, updates on the Pentagon and government decisions that heavily concern their families on the frontlines of war. With no reporters to ask the hard-hitting questions, the answers are now found on the meticulously edited videos and interviews that the Pentagon releases. 

Censoring the press has been attempted by the administration numerous times through lawsuits against reputable media outlets. Just recently Trump sued the New York Times for defamation claiming that journalists attempted to undermine his suitability to become president. He also sued The Washington Post for releasing a perverted birthday card Trump had sent to Jeffery Epstein with his signature on the bottom. 

He can’t seem to stop suing outlets that release anything that the Administration remotely disagrees on. Let’s not forget that he sued author Timothy O’Brien in 2011 over his argument that Trump was a millionaire rather than a billionaire. Trump is a man who is in constant need of refilling his crystal flute with more and more champagne problems that will ultimately keep revealing themselves inevitably.

The ultimatum that was given to journalists was not only a violation of the First Amendment but also challenges traditional systematic practices within the Pentagon. A journalist’s job is to report to the people, not to protect the government. The government putting restrictions on the press is harmful to a functioning democracy, diminishes government accountability, and disrupts the principles of public discourse. 

Since taking office, he has mirrored his favored authoritarian figures’ approaches on how they handle the media. The Prime Minister of  Hungary Viktor Orban relates heavily to Trump’s media habits. Freedom of the press has declined immensely following Orban’s rise in power in 2010 due to his constant target towards the media. There have been multiple comparisons from Trump to Orban considering Orban has constructed his own media power to adhere to his party’s orders. The Administration is trying to tie Pinocchio strings on the arms and mouths of Americans through intimidating the media. 

Without the complete freedom of press and independent journalism, honest reporting becomes scarce and unreliable, leaving the public in a scramble to stay properly informed. It ensures that the people reading the news stay informed properly and not through government propaganda. When journalists and publications expose wrong-doings by the government, it fulfills their role as the fourth state. 

Freedom of the press is protected by the First Amendment, and it’s critical to hold the government accountable. It serves as a watchdog that can investigate freely on matters that concern the safety and overall well-being of Americans. There have been countless instances in which the press has exposed the government for corruption. 

The New York Times and the Washington Post leaking the Pentagon Papers is one of the most notable instances in journalistic history to expose the corruption of the presidential administration. From Harry Truman to Lydon Johnson’s candidacy, it exposed how mishandled information can damage the trust in Americans towards the administration. They had misled the American public about how the U.S. was performing during the Vietnam War and the likelihood of military success. 

The United States Government then sued the New York Times during a Supreme Court case in 1971. The New York Times won, 6-3 and the primary holding revealed that the First Amendment overrated the government’s interest in keeping chosen documents classified. Following the win, The New York Times and The Washington Post resumed releasing articles regarding the Pentagon Papers.

Reporting on matters that concern the American people and going behind the scenes of an administration is what journalism is all about. Finding the exact center of the truth isn’t always so clean and cut. It requires dealing with a plethora of unclassified, classified, sensitive, and even “top secret” data. The government is sometimes at stake – because if someone keeps digging in the cave of “top secret” information and strikes gold, that gold can be found as disgraceful and disconcerting to the people.  

The Society of Professional Journalists slogan is “seek the truth and report on it,”  Thomas Jefferson famously stated “our liberty depends on the freedom of the press and that cannot be limited without being lost,” a free press is crucial to a functioning democracy, George Orwell quoted, “ freedom of the press, if it means anything at all, means the freedom to criticize and oppose.” 

Recognizing the freedom of the press is recognizing that real freedom stems from the ability to access the truth. Journalists keep us informed even if what they are writing is considered unpopular or shakes the floor the government stands on. The American people deserve to know the truth and nothing but the truth when it comes to the government and military operations. Media outlets are dedicated to pursuing the public interest through deep and fair reporting with an unwavering pursuit of the facts. 

The dinner table is set with four chairs filled by the four members of the family, four glasses of water, and four dishes of palak paneer. Palak paneer, a classic indian dish that his mother, Purvi, perfected – which Shyamal has carefully chosen as his favorite. Punit, Shyamal’s father, sat at the head of the table, engaging in typical conversations. Like any father and son, the two found themselves conversing on their own. Discussing things like the market, business ventures, the economy, and politics was typical. 

Wherever they were, the dinner table conversation followed. More often than not, Punit drove Shyamal to school, the car was a complete conversational parallel to the dinner table. Talking with his dad about whatever was on the radio as they drove through the suburbs of the Hudson Valley quickly became his best memory he has of them together. 

When it came time for Shyamal to make a decision about what to study, he ignored the pressures from his parents to study biology like his sister. Instead, he chose to study finance. This decision ultimately and inevitably fueled those favored conversations and led to attending Marist. 

Simple expeditions such as driving through the Hudson Valley were a dream that came true for Punit and his family. Originally from the small city of Ahmedabad, India, filled with rich culture and ancient architecture, where Shyamal spent the first ten years of his life. The colorful mopeds with even more colorful, fresh perishables flooded the streets. Honking, bargaining, yelling, and laughing were the familiar sounds that Shyamal recalls while riding a moped through the Sunday markets with his mother. 

At ten years old, he and his sister Shreena, who is four years older, moved from India to Omaha. Welcomed by their aunt, the Amin family stayed with her for approximately four months before hearing of a great business opportunity. Punit’s friend, who lived in Fishkill, called and let him know about a smart business opportunity that can bring them out of the solidago state. 

“Moving here, of course, is a struggle for anyone,” Amin says. But the Amin family’s determination overcame that struggle. 

Learning a new culture along with the language created a spark in him that resulted in strength. 

The strength at such a young age and with a big responsibility of “keeping up,” is something that Shyamal turns back to constantly. 

Lucky for Amin, he was able to surround himself with supportive, long-term friends. Dylan Ortiz met Shyamal in 6th grade while chatting about video games during class. One thing led to another and they eventually went to 3rd friendship base with each other and added one another on xbox! 

“He’s a very sweet kid, he’s always there when you need something,” Dylan says. “He’s trustworthy and hardworking, all the good things. He’s my best friend.” As time went on, Ortiz stood by Amins’ side as he went through bad haircuts and awkward encounters with girls – which was the perfect recipe for a lasting friendship. 

As Amin was growing older, his parents were grappling to treat him as so. The friendships he made in middle school followed him into high school. A group of adolescent boys who find their joy in simple things like playing video games and basketball, paying no attention to girls. 

But as time went on, they found their simple joys went on to bigger things… like parties. 

Punit and Purvi had trouble seeing eye-to-eye when it came to the teenage freedom that Amin dreamed of and saw in his friends. Like any defiant teen, he found a way around it through trial and error. If there’s a will, there’s a way, and his way was out of the window.  

“ I don’t remember exactly what it was, but they wouldn’t catch on to what I was lying about.  And I was like, I can keep getting away with this. So I kept doing it more, I guess,” he says about the routine for fun on a Friday night. 

Despite the sneaking around and white lies, Amin remained in his parents’ good graces, and by the time college rolled around, his options were limitless. Marist College was his pick; there, he would study finance, start his own club, attain internships, and study abroad.

“Is this seat taken?” Colin Campbell asked as he pulled a chair next to Amin during an investment center meeting. From then on, they found each other gravitating towards each other in their academic and professional endeavors. They founded the consulting club together, spent endless hours in the library, met up for lunch at North End Dining, and eventually went to London together.

Campbell, living on campus, recognized that Shyamal was not satisfied with his social life (consequences of being a commuter), and the two became inseparable. The time they spent together working tirelessly on their schoolwork became an effortless friendship. “We both push each other to do better; he wanted success as much as I did,” says Campbell. It was no surprise that they ventured to London together for the semester. 

“When I told my parents about going abroad, they said yes so easily, I was so surprised, and I knew I had to take this opportunity,” Amin said. 

Going abroad was always on his “to-do” list. He did it with Campbell and an optimistic outlook. 

Before London, Amin described himself as a wallflower, he preferred to observe instead of being observed. That dynamic worked well for him for a while, and in some sense it was like his social battery charging. He felt comfortable. “Sometimes it’s easier to be a wallflower because you’re not being vulnerable. You’re able to just figure everybody else out and remain almost like a mystery,” he comments. 

But when it came to packing, he packed sweaters, jeans, and left the wallflower disposition behind. Amin was on a high in London; he flourished and orchestrated the best time of his life as if it were a Duke Ellington piece. He was able to meet new people, further his professional goals, and drink pints with the boys! 

“It’s almost like my social battery was charging for the last ten years of my life, and it never ran out in London,” Amin recalls. Perspectives shifted, and he found himself prioritizing traveling and seeing the world over everything. “He would even take a lime bike and just ride around Hyde Park all day,” Campbell says. Amin was floating on a cloud during his time in London, and every day was special.

Amin returned home to his full plate of palak paneer and family with hundreds of stories to tell. During dinner, their family got a phone call about his grandpa in India falling ill, his father flew back immediately in urgency. 

Unfortunately, soon enough and unexpectedly, Amin and the rest of his family would trek that same track in urgency for Punit. 

Punit struggled with his time in the States emotionally, and he often reminisced about how wonderful his life was back in India. “He always wanted to go back to India as soon as we graduated, so he missed it a lot,” Amin said. Punit’s father made the devastating call to the rest of the Amin family with tragic news and that they needed to come to India right away.

He called at 2 a.m., they were on an 11 a.m. flight the next day. 

As they drove up to the house, there were hundreds of people outside waiting for arrival. Shyamal knew right away what had happened; his panicked 14-hour flight and one-hour drive filled with unwanted nightmares turned to reality. 

Punit passed away in his room with his grandparents by his side in India, in his oasis. 

In Hinduism, it is believed that the souls of those who have passed linger for 13 days before being reincarnated. They celebrated his life for those 13 days and forever more. Following those days, they sprinkled his ashes in the river. “I believe God needed him more somewhere else, and I believe that’s why he passed,” he says. 

There is something so poetic about Punit leaving this life where he lived his life to the fullest. Amin has since then had self-actualizations that would not have come to him if not for his father’s death. 

He knows now that not every day is promised; it is important to see the world, enjoy the moment, and to exhale. 

Through this, he has a different outlook on life and takes in every moment. Losing such a prominent figure in his family certainly did set him back, but with his family by his side, going through it together, it was the water that grew his family closer. 

The Amin family now sits at a dinner table that once sat four and now seats three, conversing about things all together over plates full of palak paneer. Punit’s dinner chair is still there, occupied by his spirit, his memory, his warmth, and his story that will be told forever.

Tate Modern is a museum that should have maps on every corner. It’s easy to get lost in the cement maze with peaks of daylight creeping in and the floods of other observers. But once you understand the routine of adhering to the labyrinth of galleries and artworks, it becomes something that you start to seek out in any personal escapade.

Wandering through the Tate Modern was one of my favorite pastimes. Whether it was for class or pleasure, I always found myself gazing at the same art piece with the same tilted head and squinted eyes I always do. Yes, artworks and exhibitions by Yoko Ono and Mike Kelly did catch my eye and left me wondering.

Specifically Kelly, a self-taught artist from Michigan that focused on childhood development and his own personal experiences with it. His work left audiences uneasy in a satisfying way. An example of his work would be his slideshow of ink blot tests paired with uncomfortable music through the speakers.

I learned so much about art and how influential it can be. It represents human thoughts, experiences, beliefs and perspectives. No matter when it was made, it always finds itself in a modern atmosphere. Art can speak louder than words, and the pieces done by the Guerrilla Girls always made sure of that.

The first piece I ever saw by them was called The Birth of Feminism movie poster (2001). It was a bright yellow poster with Pamala Anderson, Halle Berry, and Cathrine Zeta Jones holding an “equality now” banner. It caught my eye immediately and sparked so many questions that I couldn’t help but ask myself.

Who are they? What is their story? Is all of their artwork focused on feminism? “The Guerrilla Girls are anonymous artist activists who use disruptive headlines, outrageous visuals and killer statistics to expose gender and ethnic bias and corruption in art, film, politics and pop culture,” they write for their website. Founded in 1985, they used their “guerrilla” way of approaching things to expose sexism and racism behind their iconic gorilla masks to shield their identity.

Maintaining anonymity through the gorilla masks is an important aspect that drives interest from others. Along with the masks, they also go by pseudonyms, using the names of famous deceased female artists such as Frida Khalo and Alma Thomas. The masks and pseudonyms are a perfect escape from personal scrutiny, allowing a new sense of freedom of speech, “you’d be surprised what comes out of your mouth when you’re wearing a gorilla mask,” one of them famously says for the New York Times. Their masks are seen as an iconic symbol for what they stand for and who they are.

The Guerrilla Girls were finished with the white, male-dominated art world and decided to do something about it. Their mission was to hold the art world accountable for putting men at the top of the pyramid instead of calling the playing field even. Emphasizing sex and racism through their artwork were the tools they needed to climb to the top of the pyramid.

It’s easy to go to a museum and read about an artist and leave it at that. I’ve done it many times and I put it in the same box as if I were to read a passage for a class and forget it immediately after. The reason why the Guerrilla Girls followed my thoughts was because of their mission and message they wanted to spread. They were finished with males dominating the art field and so was everybody else.

Female art students often face challenges in navigating a traditionally male-dominated field, where historical biases have shaped perceptions of artistic merit and opportunity. They can struggle to find role models or equal representation in the classroom, which frequently prioritize the works of male artists. They also encounter subtle or overt discrimination, from being underestimated in critiques to facing limited access to professional networks.

RISD, one of the world’s most prominent art schools in the country, often inadvertently drives this struggle. “As a woman artist at RISD, it’s evident that although the practicing art world acts like the art is purely based on talent alone, a lot of it still depends on whether you fit the idea of who gets to be taken seriously.” Sofia Cuevas RISD class of 2026 says.

“It’s interesting to experience that in such a progressive age at a progressive school. Although there have been massive efforts and progression to even the playing field, subtle misogyny still takes place today,” she continues

In 2022, Forbes addressed the $192 billion gender gap in the art industry and presented statistics that only proved the Guerrilla Girls’ point further. 18 major U.S. art museums have collections that are 87% male and 85% white, and when the male signs their work of art it increases in value compared to when a woman does it – causing a decrease in value. A textbook that is often a necessity in class, The Story of Art written by Ernst Gombrich mentions one female in the 688 pages of the book. NFTs also suffer from huge gender gaps, only 5% of the money generated goes to female artists.

Marist Professor Malgorzata Oaks of studio art focuses on prints, paper installations, and paintings. Getting her degree in Poland, she acknowledges the struggle that many female artists go through.  “Well it’s definitely slowly moving forward. They are recognizing the value of female artists and really want to emphasize them and include them in the exhibitions. Important exhibitions or even smaller exhibitions, museums or galleries, as well as the artists of color.”

“That’s really nice they’re paying attention to that. And I think moving forward if we’re able to receive a bit more support and financial recognition specifically for female artists it can help. I think we are heading in the right direction but it’s gonna take us a little more time,” she adds.

Up until the 1870s women didn’t even have paint brushes to hold. Men swept the competition with centuries worth of head-starts. Female artists had to catch up then, and they still do now. Institutions have recognized this issue and in their own ways have done something about it. Tate Britain, one of the most famous museums in the world curated an exhibition to showcase art done by only women. Now You See Us, displayed over 100 pieces done by artists from 1520-1920 to recognize their journey for recognition and professional status.

“Including over 150 works, the show dismantles stereotypes surrounding women artists in history, who were often thought of as amateurs. Determined to succeed and refusing to be boxed in, they daringly painted what were usually thought to be subjects for male artists: history pieces, battle scenes and the nude,” writes Tate Britain regarding the exhibition.

What separates them from the rest is their unique approach to spread their mission. While using different kinds of humor like satire, sardonicism, and irony paired with hard facts, statistics, and graphics, they create a successful form of criticism that has lasting charm as well as impact. Through eye-catching posters they collected people’s attention and presented the hard-hitting facts that helped spark larger conversations. From billboards to erasers, their message was getting across.

Over the years, they have evolved in the issues they address. When they started, they narrowed their focus on sexism and racism in the United States; now, their pieces address topics that are relevant to women from reproductive rights, hypersexuality in art, the lack of female presence in museums, and political corruption. Now through a broader lense, they have broadened their horizons to the entire world. The Guerrilla Girls examine the art world as a whole, including international art institutions and cities.

The digital age has only helped the girls spread their message in new and innovative ways while also attracting a wider audience.

With time, the Guerrilla Girls formed relationships with dozens of art institutions and worked on collaborations and shows. Through the collaborations, they are able to directly address the inequalities constructed by institutions.

This year will be their 40th anniversary and to celebrate they have been in collaboration with the National Museum of Women of the Arts for a new exhibition. “Guerrilla Girls: Making Trouble,” is now open until Sept 28th. With well over 30 works and sculptures, taken from the museum’s own collection and over 80 pieces obtained over the last three decades. Hannah Shambroom, the museum’s assistant curator, tells the New York Times that it displays a chronology of their art from the beginning until 2024.

NMWA is looking to spread the same message the Guerrilla Girls are – to advocate for greater gender and racial equality in the art world and beyond. Awareness of the issue at hand has spread internationally. Countless museums, galleries, and collectors have put their best efforts to correct this imbalance through their exhibitions and collections. With all of this being said, women are still playing that endless game of catch-up.
The solution isn’t to settle for mediocrity or make excuses but to recognize these barriers, challenge outdated systems, and create new, inclusive institutions. By doing this, women—and anyone—can strive for true greatness, pushing beyond limitations and taking bold risks in their creative pursuits.

I first heard about Joan Didion through a classmate of mine. We were sitting in class and the assignment was to write a short 500 word article about any topic. She chose to write a review/critique about the new Didion & Babitz book written by the well-known Vanity Fair journalist, Lili Anolik. 

Let me begin by saying how notably cool this girl was therefore anything she said or did I took as a passage from the Bible or something. I admired her dyed red hair and her really girly shoes paired with the most amazing jewelry that rang together while she was typing. The type of jewelry that if you asked where it’s from she would answer with something like, “it’s my grandma’s from Italy,” or “ I found it in this tiny antique shop in Rhinebeck.” She had the best insights on anything and obviously whatever she said I indisputably listened. 

She and I have discussed books before and found that we enjoyed the same writers and genres. After reading her assigned article, I decided to start with Eve Babitz. 

It seemed a little personally intimidating to suddenly find myself reading Babitz and Didion. The only thing I really knew about them was that they were both considered the “literary it girls” of their time (besides of course, Gloria Steinem). 

Joan Didion was a familiar name because of how established she is in the journalism world. She is considered one of the journalists that opened the door for combining fiction writing with real-life stories. Writers like Didion, Hunter S Thompson, Norman Mailer and Gay Talese were all names that I admired, so diving deeper into Didion was effortless. 

Despite meeting Joan Didion first, I started with Eve’s Hollywood. My first impression of it was the cover with the author posing in an artsy way and the fabulous bright pink spine of the book. From what I found in my research, she was a cool party-girl, and I consider, way ahead of her time. The book is composed of more than a dozen essays that stayed consistent in her clever, in-touch, and madcap writing style. I would easily consider this my favorite Eve Babitz book out of the three that I read. Her writing is just so candid and dances on the line of flirtatious and playful.

Babitz often mentions Virgina Woolf in her stories, going on frequent tangents about how every woman should read her books and how influential she is in her writing. Noting that A Room of One’s Own clearly highlighted the historical context of women’s struggles for freedom – both creative and independently. The main point of the book, from what I gathered when I read it in high school, was that women needed “ a room of their own,” to produce great art. This resonated with her deeply and something she was a strong advocate for.

She gives the reader a well rounded and detailed account for what the L.A. scene was during the 60s through Eve’s Hollywood. These themes definitely individualized herself from other writers at the time. Topics like sex, drugs, partying, impulsive travels, and straying away from society’s expectations were accounted for in her series of essays. No topic or essay overstayed its welcome, her accounts could last pages or even just one paragraph. She found meaning in everything, and not the kind of meaning that could seem pretentious or prejudice but instead, more obvious and direct. 

Babitz is able to bounce between high society events and taquito stands on the side of the road seamlessly. Her tone throughout leaks its way into other novels she writes such as Slow Days Fast Company and Sex & Rage. 

Although I did thoroughly enjoy Slow Days Fast Company as well as Sex & Rage which, by the way, is simply the best title of a book I have ever read, nothing beats Eve’s Hollywood. Sex and Rage is a non-fiction novel about a young woman on the hunt to find creative relief in moving from L.A. to N.Y.C. in the 1970s. 

I found myself wanting to like this book much more than I actually did. The book was at an inadvertent plot standstill, with the main character Jacaranda unlikable and self-destructive. In the 245 pages, Jacaranda was just drifting through life and gave an honest story of a young woman’s journey. 

Even still, through this slow and monotonous book, Babitz’s writing still shines through and is the reason I kept reading. Her insights about friendships, relationships and professional endeavors were candid and appreciated.  

Slow Days Fast Company is another love letter about L.A. and although she clearly has love for it, her observations about the city’s culture are trustworthy. She writes in this sort of gossipy and cool tone that makes you wish you were somewhere you’ve never been. My pen was constantly underlining witty and charming remarks she made about the world around her –  “ women who dance with their eyes closed, smiling, are as near to heaven as you can get on earth,” she writes.

I particularly appreciated how real and in-touch with the world she is even though hers is flooding with lavish parties and people. Eve Babitz reminds me of the kind of girl that you meet in the bar bathroom and when she tells you to get bangs…you get bangs. 

Before I went to my Disneyland of a Barnes & Nobles, I attempted to research which Didion novel I should start with. There were many different answers to my question and after a bit I realized –  it doesn’t matter, I’ll start with whichever one I want. 

In my opinion to start Joan Didion is to start with Slouching Towards Bethlehem. Now granted I only read two of her books as of right now, Slouching Towards Bethlehem and The White Album and opened a handful of her books and found that every sentence I read almost read like a rhythmic song.

Didion often refers to Ernest Hemingway, crediting his stories as direct inspiration for her writing style. She was drawn to his “iceberg” theory that suggested that the majority of meaning and impact is conveyed through what is left unsaid. To further her inspiration, Didion used a type-writer to rewrite his stories to thoroughly understand the rhythm of his sentences – focusing on the structure of long vs short sentences within paragraphs. She adopted these habits into her own writing while also navigating the linguistic labyrinths of the English word. 

Slouching Towards Bethlehem is simply a masterpiece. It’s the Mona Lisa of literature, it’s that pair of perfect jeans in denim disaster, it’s a young woman’s guide to livelihood. I won’t compare it to the Bible, but I might. I won’t. It’s my Bible.

There are a total of 20 essays in this masterpiece each divided up into appropriate sections. Life Styles in the Golden Land, Personals, and Seven Places of the Mind – all relating to life in California during the 1960s. In one of her first few essays she’s taking you for a drive through a Northern Californian neighborhood, describing the streets, restaurants, stores and frequent faces. It felt as though I was sitting right there in the passenger seat with wind blowing in my hair and Joni Mitchel on the radio.

I found that Slouching Towards Bethlehem, in its consistent prose writing essence, was not one sentence short of perfection. I drowned myself in her insightful and observant way of writing. There is no doubt in my mind that she was one of the most observant writers that I have ever encountered. Not observant in the way of just simply pointing out the color of one’s hair but pointing out the anxieties and contradictions within different subcultures and historical moments.

Her essays frequently explored cultural shifts happening in America such as celebrity culture, the amplification of hippie-counterculture, and political discourse. She thoughtfully captured the underlying contradictions and uncertainties of the times with clarity. 

My favorite writing done by her has to be her collection of Personals. I personally think her writing and perspectives thrive in this section. From explaining why she keeps a notebook to her experience with self-respect, she is truly eye opening. Her anecdotes about how she lived her life are truly refreshing and have since then shifted my outlook on life. 

The White Album in my opinion is the more intimate and vulnerable version of Slouching Towards Bethlehem. Through this series of essays she captures her personal struggles with topics like marriage, writing, and even migraines. The first line of the very first page has now become one of the most memorable quotes she’s written, “ we tell ourselves stories in order to live.” 

Many of her essays stood out to me and I was constantly underlining/dog-earring the whole book. Her essays almost feel like diary entries because of how vulnerable and real she is with readers. One particular essay stands out to me – In The Islands. She describes the hotel she’s staying in, the weather, and most importantly her recent filing for divorce. Sentences such as “quite often over the past several years I have felt myself a sleepwalker,” and “a place belongs forever to the person who claims it the hardest; remembers it obsessively.”

She shows the realities of her life, good or bad. Her melancholic disposition reflects itself clearly, reassuring me that it’s okay to sulk in my own sadness. Joan Didion is thoughtful and reflective in any endeavor she finds herself in, personally inspiring me to follow suit. It is a privilege to have gotten to know her through her writing in complete understanding. She’s the voice of all that has, or hasn’t necessarily changed to anyone unprejudiced enough to listen. 

For as long as a selected amount of students can remember, Geese have never really chosen to inhabit our campus for their home. It raises the questions of: why now? Where are they coming from? Do they have the bird flu? Is Marist grass better than Vassar grass? Not only are they filling the grass with themselves, but also, filling the sidewalks with an immense amount of their poop. For some reason, geese find Marist as charming and wonderful as students do.

Since Marist University prides itself on being an open campus, the geese have obviously gotten the memo! 

Students all over have been noticing the increase of birds on campus. The geese would not be that big of a problem if they did not follow with droppings. “They poop too much,” says Aiden Czajak, 27’ when asked about how he feels about the geese. “The geese are the problem, they’re in the way and pooping everywhere,” Mackenzie Nielson 28’ adds. 

Just like any other bird, geese are up and early to get the morning worm. Unluckily for students, their morning breakfast has woken many students from their slumber. Interrupting students from sleep, they are half awake walking to class, unfortunately, they need to be fully awake to avoid stepping in the poop. 

Not only are students warned about slipping on ice, but also geese poop. It’s a new and precautious thought of watching out for the poop, it’s slippery…and smelly. Along with spreading their poop, they can also be aggressive, although there have been no reports of a goose attack on an unlucky student.

The wind chill from the river has not stopped geese from inhabiting the Marist grounds. In fact, geese prefer to stay in areas with a plentiful amount of food and large bodies of water that don’t freeze. Since this winter has been more than brutal, it surprises many that they decided to bear it with us. 

“I don’t understand why they’re here when it’s so cold,” Cate Bergstrand 26’ remarks. “I have to change my route to class because they are in my path and I’m scared,” she continues.  

Geese have been everywhere on campus but the football field, picky eaters, they don’t enjoy eating the turf. They are attracted to grass and the nutrients it brings, as well as being their primary food. And although turf is attractive to football players, it isn’t to birds.

Having geese everywhere also raises the prominent and deepening concern of the bird flu. The bird flu has slowly but surely grown to be on the radar for Americans, and especially when they fill the green outside of students’ classrooms. With misinformation spreading everywhere, it can easily lead to panic within students. 

Updates on the bird flu have been coming out at least everyday. The concern of the bird flu is prominent, and only getting worse. With birds filling the campus, it raises concerns and spreads even higher. Bird droppings and coming in contact with dead or sick birds is the biggest way the flu can spread. 

Since there are so many bird droppings, and no matter how many times landscaping decides to clean the sidewalks, the odds of the disease spreading are even higher. Not only is this a risk to humans, but also other birds and animals. 

The flu spreading within animals works much faster than if it were bird to human. Marist University has been known to welcome service animals when needed. With dogs being a go-to service animal, going on walks with them could be a hazard. The spread of the flu being through bird droppings, domesticated or service dogs can be high at risk considering they go into close contact with poop no matter the animal. 

But the question still remains, why are they still here? Birds have been known to migrate south for the winter for food because staying in the north means their meal gets an unwanted topping of snow. They also can’t tolerate cold temperatures, despite their thick coat of feathers, as well as raising their baby geese by the water where they feed and escape predators. 

Some Canadian birds have actually adapted to the colder weather, therefore being comfortable enough to stay in New York. With the colder conditions, the food supply for the geese in the winter can sometimes be enough for them year-round.The Canada Goose jacket name must stem from somewhere! 

Geese follow landmarks, coastlines, mountain ranges as well as the sun and stars for guidance, they also have a physical compass that can detect the earth’s magnetic field. Prioritizing their health and babies they normally do fly south. These geese have been making our home their home and so far, are welcomed with open arms, for their sake, I hope Frankie the Fox doesn’t see them! 

From the first scene of the movie, the pace is set, the meaning of the name behind the film is introduced, and we get a peek into Fritz Von Erich’s iconic wrestling move that he later passes down to his sons. “Iron Claw,” a wrestling move invented by Von Erich’s, is treated like a family heirloom and eventually leads their family to change the wrestling world forever. 

Narrated by the film’s main protagonist, Kevin Von Erich (Zach Efron), the oldest brother of the family is searching for clarity and meaning through wrestling. Kevin, along with his other three brothers Kerry (Jeremey Allen White), Mike (Stanly Simons) and David (Harris Dickinson) bond in and out of the ring with their father and go lengths to please him. 

Through the magic of the production design, the audience is able to come to their own conclusions on how the boys might have been raised. Multiple gun cases, family photos on every wall as if it were wallpaper, a small intimate kitchen, and many, many trophies. Von Erich, along with his wife, seemed to have raised the boys in a very masculine way. As the film moves forward, the themes of masculinity and pride stay consistent. 

David joins his older brother Kevin in the ring under Fritz’s direction to further both of their careers. Their success skyrockets and they soon become an unstoppable duo that attracts people to their events more than ever. Eventually Kerry, David’s younger brother, moves back home and the duo becomes a trio. 

With their raging success, Mike (Stanely Simons) the youngest brother, has local success as well, just in music. Mike Von Erick, unlike his brothers, chooses to stray away from the slams of the ring and creates music with friends instead. 

The movie switches vastly from the Von Erichs’ fortune and fame to tragedy and heartbreak. 

Vanity Fair writes, “the movie behaves like a film not about entertainers, but about soldiers, harrowed by war…maybe for the Von Erichs, life did feel akin to war; a profoundly unsettled psychology clearly plagued nearly all of them.”

Dirkin, the director and writer of the film displays the brothers and their unbreakable bond, swiftly immersing the audience in their brotherhood. The ultimate tragic story that Dirkin puts on the silver screen, casted perfectly with dedicated actors, creates one of the best biopics of all time. 

Efron gives a performance of a lifetime and sets himself up for being known as a serious and committed actor, despite his popular reputation as Troy Bolten. Not only did Efron spend countless hours reaching the body structure as a professional wrestler, but also researched relentlessly and perfected the role. 

It’s no doubt that any of these actors put less than 100% into this biopic. Since the movie calls for such specificity with everything from costumes to muscles, there was a lot of space for this to be an easy botch. Dirkin pulled off the film by casting talented actors who took us back in time to the world of wrestling in the 80s. 

“The Iron Claw” was one of the most captivating movies of the year and exposed how dangerous too much pride and masculinity can be. Fritz was also far from shy to keep his children in the grip of the iron claw, never giving the boys a chance to come up for air. 

Though it is a movie about winning, it displays defeat especially well. The ill-fated family’s line of events is so tragic it is almost unbelievable. ‘The Iron Claw’ wasn’t afraid to play into the big emotions of the movie, dragging the audience through and grieving along with the brothers. The Von Erich family was and still remains “ wrestling royalty,” changing the world of wrestling forever.