Month: January 2008

Categories
News

New job tolls for Bell? [January 31]

In today’s Washington Post, Staff Writer Tim Craig puts Delegate Rob Bell, who represents much of Albemarle County, at the top of the list of five Republicans who are possible candidates for Virginia Attorney General. According to the article, Bell has an early advantage because he has raised, as of December 31, $300,000—the second candidate on the list, Senator Ken Cuccinelli, has about $74,000 in his coffers. As for Bell’s fitness for the job, Craig writes, “The former prosecutor has a reputation for using his seat on the Courts of Justice Committee to push for laws to crack down on crime, but some activists say he goes too far in wanting to lock people up.”


Though Rob Bell hasn’t announced he’s running for Virginia Attorney General, he has raised $300,000, more than any other potential candidate.


Previous "This Just In" articles from this week:

Going global [January 30]
UVA’s Darden in top 100 business schools…in the world!

Virginia population boom surrounds Charlottesville [January 29]
Fluvanna, Orange and Louisa see highest increase

Categories
News

Going global [January 30]

The Financial Times has ranked UVA’s Darden School of Business 33rd in the world and 16th in the U.S. The University of Pennsylvania’s Wharton School of Business was ranked No. 1—in the entire world.

Of course, this may not be news Darden wants to trumpet. Its world ranking in 2008 dropped from 26th in 2007. In 2006, Darden was ranked 24th. There isn’t an MBA amongst us here at C-VILLE, but we think that is what’s known as a “downward trend.”

On the upside, Forbes.com reported that Darden, with its boot-camp feel and general-management focus, is one of the most underrated business schools.

Previous "This Just In" articles from this week:

Virginia population boom surrounds Charlottesville [January 29]
Fluvanna, Orange and Louisa see highest increase

Categories
News

Jukebox

Chan Marshall’s concert at the Satellite Ballroom in 2005 was everything I’d been led to expect it would be: a few sparse, harrowing blues originals from the nervous chanteuse with the dark bangs in her eyes, interrupted halfway through as she voiced her anxieties, saying she “felt like she was being watched by the KKK,” then grabbed her glass of wine and split the stage. Marshall finished four or five songs in her 90 minutes or so on stage, and only two or three were hers; the others were covers of “House of the Rising Sun” and the Everly Brothers’ “All I Have to do is Dream.”

Nearly a year later, Marshall spilled it all to the New York Times: whiskey and scotch by day, Xanax by night, meltdowns aplenty. But by that point, it didn’t matter: Cat Power’s 2005 record, The Greatest, was reissued with new art, and her live gigs had grown by leaps and bounds, her backing band of soul veterans amplifying tunes from her catalogue as well as providing Marshall herself with an array of talent that she could envelop herself in. “Cat Power” became a group name that Marshall could disappear into rather than a globe she was required to support on her slender, bowed shoulders. She began dotting her live shows with new covers, ranging from The Highwaymen’s “Silver Stallion” to Smokey Robinson’s “The Tracks of My Tears,” huskily murmuring, “People say I’m the life of the party ’cause I tell a joke or two./ Although I might be laughing loud and hearty, deep inside I’m blue.”

Cat Power’s latest record, Jukebox, is her second album of cover songs, following 2000’s The Covers Record (which featured one of the greatest lyrical reinterpretations in modern rock, Marshall’s cover of the Rolling Stones’ “Satisfaction” without using the chorus, a purely sexual tease). Jukebox features many of the covers that Marshall unveiled during tours that followed her recovery from addiction: “Silver Stallion” perfectly pairs Marshall’s ash-tipped voice with a dusty slide guitar, while “Aretha, Sing One for Me” drowns her voice in gospel organ and electric guitar gnarls, not altogether pleasantly.

Rather than the soul ensemble of Al Green vets that made up her band for The Greatest, Marshall’s crew features drummer Jim White of Australian instrumental whizzes Dirty Three and guitarist Judah Bauer, once a member of Jon Spencer Blues Explosion. White’s drumming almost succeeds in making Jukebox’s lead track, “New York” (made famous by Frank Sinatra), a repeat of Marshall’s take on “Satisfaction,” and the song’s cymbal-tapped transition to Hank Williams’ “Rambling (Wo)man” (Marshall makes the subject feminine) makes for a dynamite pairing of murky keys and Zeppelin drums, but Chan the Cat has to work a bit too hard to turn the schmaltzy opening cut into something darker.

Jukebox makes a few more missteps in song choices: Joni Mitchell’s “Blue” should’ve been canned, and a few tracks from a bonus disc (namely Nick Cave’s “Breathless” and Hank Cochran’s “She’s Got You,” made famous by Patsy Cline) should’ve made the cut. But Marshall’s re-imagining of “Metal Heart,” an eight minute track of tinny Danelectro guitar and a vocal double from 1998’s Moon Pix, speaks volumes about the record. The song is sliced in half, but Marshall’s voice, without studio support, soars as something new as her band rocks behind her like her past catastrophes. Marshall isn’t quite the life of the party anymore, but she seems a little less blue.

Categories
Arts

Net ‘scape

Computers can be fun. You can play Quake 4 on them. You can download porn on them. You can use them to communicate with friends halfway around the globe. But in order for computers to be even remotely engaging, you need to physically interact with one. Simply sitting and staring at a computer screen is boring. In fact, it’s a hell of a lot like work. Which is why movies about computers are no fun at all. That was proved almost 13 years ago with the would-be cyber-thriller, The Net. Watching Sandra Bullock sit at a computer terminal and type for an hour-and-a-half was pretty much the opposite of thrilling. Entertaining, computer-inspired movies like Tron and The Matrix are only entertaining because they aren’t really about computers. They’re about fictional, high-tech fantasy worlds. They’re what we wish computers were really like: giant, virtual reality theme parks filled with LightCycles, slo-mo kung fu fights and Monica Bellucci in a rubber dress.


Is this real life? Is this just fantasy? Diane Lane takes some time off from her computer in the cyber gorefest Untraceable to do some real work.

Untraceable, the new would-be cyber-thriller starring Diane Lane, misses this concept entirely. In it, Lane plays Jennifer Marsh, a widowed single mother working for the FBI’s cyber crimes division in Portland. One day, she stumbles across an allegedly “untraceable” Internet site called killwithme.com. On it, some anonymous serial killer is hooking human beings up to elaborate death traps and filming their final moments. The more people who log on to his Web page, the faster the people are dispatched. Essentially, he’s turning curious viewers into murderous accomplices.

See, this nut job has got some sort of fuzzy point to make. Like the film, he’s trying to expose America’s obscene, voyeuristic fascination with death and tragedy. Like the film, he’s doing so by slaughtering a bunch of people in ridiculously inventive and fetishistic ways (boiled by battery acid, baked by tanning lights). It’s like Saw with a social conscience! Which basically makes this an exercise in hypocrisy. Torture porn that pretends to hate torture porn is still torture porn, people.

Trailer for Untraceable.

Given that it wallows in the snuff-film atmosphere of Saw/Hostel/Captivity, you’d think Untraceable would at least be energetic. It isn’t, thanks largely to the fact that a bunch of computer geeks have been assigned to track this psycho down. They sit around talking about “mirror sites” and “black holes” and all manner of techno-babble sure to leave any viewer not employed in the IT field confused and restless. Honestly, this is the most useless bunch of detectives to grace the big screen since The Naked Gun. It sure would speed things along if one of them would get off their can and actually do some detecting—you know, look for fingerprints, quiz some neighbors, something. Instead, Jennifer and her co-workers gape at their computer monitors and wait around to be kidnapped and killed themselves (something that happens with surprising regularity).

In all fairness, Lane is a capable actor and she does a decent job of breathing some life into her character. Director Gregory Hoblit (“NYPD Blue,” Primal Fear) knows his way around crime thrillers and manages to work up a little tension in later reels. Fans of the female cop/forensic scientist genre might be marginally satisfied with the shopworn mix of heroine-in-peril and gruesome serial-killing action. Others will be alternately bored and grossed out.

Categories
Living

We Ate Here

Mas’ spicy baba ghanoush seared our tongues enough to prepare us for a greasy chorizo that slid down our throats. Relief came in the form of a golden Hoegaarden draft, followed by an extra rare tenderloin soaked in a delectable orange sauce. A delicate crabcake dipped in fresh creme finished us off. No mas.

Categories
Living

When things get Harry [with audio]

The Downtown Mall conjures up an eerie atmosphere on Monday nights. With most restaurants and bars closed, you’ll find few souls traversing the diagonal bricks. This barren landscape makes it easy to discern the sounds and neon red glow of Miller’s, one of the few places where one can take refuge after that difficult first day of the week and enjoy local live music at the same time.

When Feedback arrived at the bar, we found Harry Faulker tuning up his acoustic guitar while drummer Johnny Gilmore squeezed his drums into the narrow window space that doubles as a stage. Billing himself as “Guitar Harry,” Faulkner was preparing for his second of three Monday night performances. He’s no stranger to the place, though.


Harry Faulkner, who once made musical rounds with future DMB-er Boyd Tinsley, hopes to play more local gigs as "Guitar Harry."

C-VILLE Playlist
What we’re listening to

"Happiness Is A Warm Gun," by The Breeders (from Pod)—On her first post-Pixies release, Kim Deal teams up with her twin sister, Kelley, for this eerie indie rock interpretation of the Beatles tune.

"1 Thing," by Amerie (from Touch)—The multitalented R&B singer gets us trippin’ with this go-go-esque, catchy love song.

"Glenn Tipton," by Sun Kil Moon (from Ghosts of the Great Highway)

"Red Right Hand," by Nick Cave and the Bad Seeds (from Let Love In)

"We Takin’ Over (Remix)," by Lil Wayne (from Da Drought 3)

"Amarillo," by Emmylou Harris (from Elite Hotel)

“I used to play here early on with Boyd [Tinsley],” he says as we sit at the bar. “Dave was our bartender then. That was always an amusing thing. That was in ’88.” Faulkner and the future Dave Matthews Band violinist formed Down Boy Down and made their way around the local bar circuit. “We would play Trax, The Mineshaft and Zipper’s,” says Faulkner, referring to Main Street musical haunts that are no more.

Fraternity parties also made for steady gigs, Faulkner tells us. “We were real troopers,” he says. “We had a big truck and a big PA and would go around and play all of the college stuff.” Sometimes shows would even take them out of town. “I remember we once had to play two shows in two states,” he says. “We had to get from some place in West Virginia to some place in Pennsylvania in like three hours. Boyd worked this thing out where we were on this kind of puddle jumper, this kind of bread box with wings. It was the most terrifying plane ride I’d ever been on.”

Good times were had, but fame beckoned for Tinsley, and when DMB took off, Faulkner became a teacher. For the past few years he’s been riffing more on Shakespeare than on his guitar as an English teacher at Albemarle High School, his alma mater. But now he’s hoping to strike up some chords again.

Do his students know about his musical side? “I don’t always want to share everything with him,” Faulkner says with a laugh. “I have helped a couple of them with songwriting projects, though.”


One-time Charlottesville resident Ali Marcus will play Miller’s on Tuesday January 29.

Though Guitar Harry was originally supposed to be an ongoing weekly affair, Faulkner says that won’t be the case, as former Monday night axe-wielder Matthew Willner will be reclaiming the slot on February 4. But the shows that he has played have inspired Faulkner to keep strumming, and he hopes to line up some future gigs at Miller’s and Fellini’s #9.

After our chat, we hung around to listen to Faulkner and Gilmore play songs like “Ballad of the Durty Girls” and “Velvet Elvis.” We enjoyed the laid back, narrative-laced style, and hopefully we’ll get a taste of that again soon.

Turtle rockin’

Listen to "Trash Day" by Ali Marcus


powered by ODEO
Courtesy of Ali Marcus – Thank you!

And since we’re talking about music at Miller’s, we suggest checking out Ali Marcus, a former Charlottesville resident (she attended UVA from 2000 to 2004 and played shows around town during those years) and current Seattle songwriter, on January 29 (that’s tonight if you’re picking up the paper on Tuesday; get your ass Downtown!). Marcus released two albums in 2007 on her own Turtle Rock Records, and, based on the tunes we’ve heard, she’s got a wonderful voice and a keen, Neil Young-ish songwriting sense. When we spoke with Marcus, she told us that her song “Trash Day” is about the differences between the quiet peacefulness of Charlottesville and the noisy bustle of the big city. We’re happy to welcome her back to our serene scene for this show.

News or comments? Send them to feedback@c-ville.com.

Categories
News

Virginia creeper

Dear Ace: This isn’t a Charlottesville question, per se, but could you help settle a disagreement about driving etiquette? When trying to make a left-hand turn at a traffic light, my wife believes that creeping out into the intersection while waiting to turn is perfectly all right. What is the correct way to handle this situation?—Emile E. Post

Emile: You’re right. This isn’t a Charlottesville question, “per se.” But since traffic is such a touchy subject ‘round these parts, Ace feels obligated, as a fellow motorist (and all-around nice guy), to find an answer. On the other hand, Ace does not like to be the catalyst in a marital dispute, so he’ll try to be as gentle as possible, since no answer to this question could be presented smoothly to both parties.

First, the bad news: Your wife is wrong. Oh! Sorry. …Your wife is, shall we say, factually misinformed. According to Richard Wharam, driver education teacher for Albemarle County schools, it is illegal to edge out into the middle of a controlled intersection (a.k.a. an intersection with a traffic light or sign) while waiting to turn, and any person who does this “should be shot on sight.” In light of Ace’s effort to sugarcoat, he thought that comment was a bit harsh. Of course, Richard’s brash statement was only that of a concerned citizen, which Ace realized when Richard asked him if he was on a cell phone in a car (and thus unable to write things down). After Ace assured Richard that he never doodles and drives, Richard told Ace that “creeping out,” as you say, is an epidemic among adult drivers, but it’s important to stay behind the stop bar.

Now, the good news: Richard also gave Ace the answer to an age-old question that may plague our readers: Who has the right of way at an uncontrolled intersection? Most people go by the old rule of whomever got there first gets to go first. But, Richard told Ace that the real way to settle it is for the driver on the left to yield to the driver on the right.

All this talk of driving has got Ace a little thirsty. Whaddya say you take Ace and the little lady out for a drink? You can be the DD—Decent Driver.

You can ask Ace yourself. Intrepid investigative reporter Ace Atkins has been chasing readers’ leads for 18 years. If you have a question for Ace, e-mail it to ace@c-ville.com.

Categories
Living

Sex Files: In control panel

How reading erotica can help you get in the mood for sex was the subject of my last column. Now it’s time to start taking on the idea of watching adult entertainment and porn.

But first things first: Are men and women different when it comes to getting turned on? The answer is “yes and no.” Let me explain:


That’s adult entertainment: For some women, one glimpse of Omar Sharif’s eyes is worth more than a hundred sexual images.

One of my favorite slides when giving a presentation shows an on/off switch with the label “Male sexuality” and below it an elaborate control panel (labeled “Women’s sexuality”) that has several fine-tuning devices and meters to watch. My audience usually laughs, but then I explain that it is very true that women often need a lot more preparation and fine-tuning than men in order to get aroused.

Men who get with the program and learn to start the process of initiating sex way before they are in the bedroom are often surprised how well it works. By pushing the right buttons on the control panel, not only do men learn to tune into their partner, but they also often end up having a mate who is ready and eager to have sex with them. Late night, suggestive moves out of the blue, on the other hand, usually lead to nothing but frustration for all concerned.

In other words, if you are a guy who wants sex tonight, be sure to send your partner a sweet (or naughty) e-mail or text message way in advance. Or pay her a heartfelt compliment, reminding her of your attraction to her. And by the way, save the flowers for special occasions, and instead do the dishes after dinner and take out the trash. It’s the day-to-day help around the house that’s the best aphrodisiac for women.

But there also are plenty of ladies who get sexually aroused from visual stimulation, such as watching adult entertainment or porn. While men usually like to look at close up shots of sexual scenes, women often are more interested in watching an erotic film that includes a story line. Not all women fall into this category, of course, but over and over women have told me that the emotional connection between individuals is just as arousing for them as watching the sex act itself. One lady told me that her all-time favorite arousing movie was Dr. Zhivago, which is rated PG-13 and has no sex scenes at all.

On a side note, one of the reasons why Viagra never caught on for women was that, while a man can get aroused from watching his penis get erect, a woman reacts differently. The fact that female research subjects’ genital blood flow and lubrication increased after Viagra did little to their overall experience of having sex. Those women told scientists that the emotional connection to their partner was much more important to them. That’s when the pharmaceutical industry, that was hoping to find another post-Viagra market to cash in on, realized that unless they developed a magic pill that enhances emotional intimacy, they would probably not succeed by targeting women.

Are you wondering what specific types of adult material women like to watch? Do you think that porn is only reserved for men? Come back in a couple of weeks for the answers.

Annette Owens, MD, Ph.D., is certified by the American Association of Sexuality Educators, Counselors, and Therapists. She sees clients in her Charlottesville office (cvillewellness.com) and answers questions online at LoveandHealth.info and SexualHealth.com. She is an advisor on the Health & Science Advisory Board (HSAB.org) and has co-edited the new four-volume book, Sexual Health (Praeger).

Categories
Arts

Choking…on cash

The first screening of locally tied film production company ATO Pictures’ Choke at the 2008 Sundance Film Festival was Monday, January 21 at 8:30pm at the Racquet Club in Park City, Utah. The film, scheduled for five screenings total, let out at a bit past 10pm with the next screening set for 8:30am the next day at the same venue. Temple Fennell, who develops films at ATO, split with a fair portion of the crowd for Choke’s afterparty at a nearby club called Hyde, where he prepped himself for the rest of his time at the Festival. In his own words: “I stay there ’til it’s sold.”


“Er, how much?” ATO Pictures’  Choke (starring Brad William Henke, left, and recurring ATO Pictures man Sam Rockwell) nabbed a $5 million deal with Fox Searchlight literally overnight following its first screening at the 2008 Sundance Film Festival.

Amidst a sea of celebrities (including Woody Harrelson, stellar in No Country for Old Men—which earned local Jack Fisk an Oscar bid for Best Art Direction—and Curtain Calls favorite Quentin Tarantino), Fennell grabbed a few cocktails, mingled and quickly caught word that members of production company Fox Searchlight were on their way to the fiesta to talk about the film.

“They showed up at the party around 1am and then we did some negotiating there,” Fennell says a few days later, fresh off a plane at the Charlottesville Airport. “When it looked like, ‘O.K., they’re willing to match the number that we need,’ we packed it up and went to their offices.”

By 5:30am—three hours before its second screening—Fox Searchlight (which also nabbed the creepy ATO flick Joshua) shelled out $5 million for the U.S. and most of the worldwide distribution rights to Choke, adapted from Chuck Palahniuk’s novel about a food-scarfing scammer. At press time, it was the second largest monetary deal announced from the Festival (top billing goes to Hamlet 2, starring Steve “24 Hour Party People” Coogan, which nabbed a $10 million deal from Focus Features).

So Fennell got an early ticket home from the Festival, at which point Curt spoke with the obviously giddy gent. “Without blowing my horn too much,” he tells CC, “they’re saying it’s the hottest ticket at Sundance right now.”

So keep this news in mind, readers, because it may soon benefit you. When ATO nailed the Joshua deal, they set up a screening at the Newcomb Hall Theater at UVA through the Virginia Film Society. We may get our next dose of Sam Rockwell, the film’s star, sooner than we think (and that’s always a cause celebre).

In honor of ATO’s big victory, CC is giving you this week’s injection of art perfection in the spirit of coming attractions. First up: OFFscreen, UVA’s top-notch film society, recently (albeit a bit belatedly) announced its spring schedule, which kicked off January 27. The must-see flicks? The two-part director’s series on Claude Chabrol starting with Les Bonnes Femmes (February 10), American History X director Tony Kaye’s documentary Lake of Fire (March 23) and Hannah Takes the Stairs (March 16), Joe Swanberg’s engagingly plodding romance that kick-started the “mumblecore” film genre.

Cat me if you can?

Curt resumed the hunt for big news on his “Rita Mae Brown” beat in honor of the author’s book release event at the Barracks Road Barnes & Noble at 6pm on Saturday, February 2. When your snooping (and admitted “dog person”) narrator left off, he was speculating on how Brown’s cat, Sneaky Pie Brown could’ve penned 16 books with her master, counting their latest, The Purrfect Murder.

Like a hound after a mallard, CC tracked Brown to her home in Afton and got in touch with her only to ask for—nay, to demand—how she’d developed the Doolittle-ish skill of authoring mysteries with mammals. And got a relatively straightforward answer.

“If I was a really good kid,” says Brown, “my grandfather would let me sleep with his foxhound. [Animals] have a much greater range of communicability than we do.”

Yeah, but writing?

“We’re a fairly reduced species in many ways,” replies Brown. “The more I live with this particular cat—who’s very bright—the more I could see [the story] through her eyes.”

The Purrfect Murder, the latest in Brown’s best-selling “Mrs. Murphy” series, seems a bit bent on taking some unwelcome local residents to task. In the story, recurring protagonist “Harry” Harristeen and her wet-whiskered sleuth of a cat, Mrs. Murphy, take on the murder of Carla Paulson, described on the book’s jacket as “one of the diamond-encrusted ‘come-here’ set who has descended on Crozet with plenty of wealth and no feeling for country ways.”

Allegory? Maybe, but Curt operates with a strict “no spoilers” policy.

In other book news, your typically quick-witted member of the literati got all sorts of tongue-tied after WTJU alumnus Rob Sheffield’s reading at New Dominion Bookshop (though he managed to blabber out his name for a proper autograph in his copy of the excellent Love is a Mix Tape). In fact, the entire audience was relatively mum (prompting Sheffield to ask, “Who am I wearing? I’m glad you asked,” and then to reveal an old pair of Reebok Pumps sneakers), but mostly for the reason that quite a few of Sheffield’s buddies showed up.

Curt ran into his friend Elizabeth McCullough of Charlottesville Words at the reading and she informed him that a recording of Sheffield’s reading would be posted on the Charlottesville Podcasting Network, where she recently helped post a recording of local James Collins (a former editor at Time and a contributor to The New Yorker) reading from his new debut novel, Beginner’s Greek. CC has always been one for reading aloud (it ranks right up there with warm milk and foot baths, people!), and left the reading to head home and try out the Collins podcast.

But, on his way out the door, something in the New Dominion’s window caught CC’s eye. What the f…

CC challenges…

All right, John Grisham. Curt read your easily palatable, highly stimulating legal thrillers at a young age (hell, they single-handedly cultivated his love for “Law & Order”!), but now it’s time he dropped the amicus curiae act and challenged you to an interview on the occasion of the January 29 release of your latest, The Appeal, which is all over the New Do’s storefront just like every one of your previous novels.

You think you can single-handedly keep a book store in business with your clever democratization of big courtroom words? Well, CC has news for you, Grishy—court’s in session. Let’s chat. Adjourned.

Got any arts news? Are you John Grisham? E-mail curtain@c-ville.com.

Categories
Arts

First Friday, February 1, 2008 [With Photo Gallery]

Angelo “Houses and Neighborhoods,” collages by Susan Patrick, 5:30-7:30pm.

Art Upstairs “The Colors of Tuscany,” travel photography by Frank Feigert, 6-9pm.

Batteau Custom Framing Recent works by Joanne Coleman and Trilbie Knapp, 5-8pm.

BozArt Gallery “Selections,” paintings by Zainab Hader, 5:30-9pm.

The Bridge/Progressive Arts Initiative “The Generations Project,” a multimedia documentary project, 6-8pm.

C’ville Arts “The Heart Aglow,” beeswax luminaries by Raven Long, 6-9pm.

Fellini’s #9 “Homage a Fellini,” watercolors by Mario Russo, 5:30-7pm.

The Gallery at Fifth and Water “Paintings from my Pochade Box,” recent works by Priscilla Long Whitlock, 5:30-8pm.

The Gallery at the Law Office of Richard DeLoria “Landscape, Still Life, Figures & Spaces,” new paintings by Elizabeth Moore, 6-9pm.

La Galeria “Wild West Landscape Photographs” by Mary Porter, 5-8pm.

Les Yeux du Monde “Homes of the Homeless,” oil paintings and collages by Lydia Gasman, 5:30-7:30pm.

McGuffey Art Center “Figure Studies” by Ann Cheeks and Scott Smith; “It Has a Story” by Laura Parker; recent works by Caroline Cobb Wright and Bill Weaver, 5:30-7:30pm.

Migration: A Gallery “Strata,” acrylic paintings by Stephen Griffin, 6-8pm.

ourspace “this is ourspace,” a collection of works in multiple media by Sky Hiatt, Ohiyah, Rian Dovis and Arcadia Williams, 5:30-9:30pm.

Second Street Gallery “Elemental” by Young Kim; “The Struggles Play Nice” by Rob Tarbell, 6-8pm.

Spring Street Boutique “Women and Wine” by Kathy Womack, 6-9pm.

UVA Off Grounds Gallery “Part I: An Exchange Exhibition Between Two Art Departments,” a collection of works from art students and faculty members from the Chinese University of Hong Kong, 5-7pm.