Raise a Glass – A Contemporary Response to Animal-Shaped Vessels from the Ancient World
Exhibition Dates: October 13 – November 26, 2018 Ceramics Program, Office for the Arts at Harvard 224 Western Ave, Allston, Massachusetts 02134 Opening Reception and Public Demonstration: Saturday, October 13th, 2018 from 4pm – 7pm
Dates: February 3 - April 20 Days/Times: Mondays, 10:00am - 1:00pm Level: Intermediate - Advanced Instructor: Steve Murphy
Course Description: Focusing primarily on the wheel, this class for intermediate to advanced potters will explore size, form, refinement and surface. Students should arrive with an ideas of what forms and/or techniques that they would like to improve upon during this class. Special attention will be given to creating larger vessels and lids, pouring vessels, multiples and executing more sophisticated forms. Class demonstrations will be given based on student input with the remainder of the class being one-on-one help. (12 classes/13 weeks)
Presented by: Ceramics Program, Office for the Arts at Harvard
Visiting Artist Workshop with Bryan Hopkins and Kristen Kieffer | The Textured Surface in Porcelain
Saturday & Sunday September 15 & 16, 2018 10am - 4pm each day Potluck lunch for those who wish to bring a dish to share.
Join us for a master class in working with porcelain with Bryan Hopkins and Kristen Kieffer. Both artists plan to explore a range of surface treatments while sharing stores and their experiences as contemporary ceramic artists. Both will provide visual presentations pertaining to their journey as artists and with their chosen techniques and use of porcelain clay bodies. Whether your work is functional or sculptural, this workshop will provide you with a chance to explore, experiment and learn. Participants will have the opportunity to try their hand at the various techniques covered in the workshop and receive feedback from other participants and the workshop leaders.
Harvard Art Museums, 32 Quincy Street, Cambridge MA
Wai Yee Chiong, the Cunningham Curatorial Fellow in Japanese Art, and Seung Yeon Sang, the Henderson Curatorial Fellow in the Division of Asian and Mediterranean Art, will give the gallery talk Gardens of the Mind.
Harvard Museum of Natural History, 26 Oxford Street
Glowing under black lights, luminescent paintings by California artist Lily Simonson embody a synergy between art and science that reveals new ways of seeing and understanding life forms in the deep ocean.
Presented by: Harvard Museum of Natural History More information here.
We'll discuss, explore, and destroy some of the common ceramic myths. We will discuss topics such as "No, opening your kiln early does not cause crazing" and " Gas escaping from your clay can't cause pin-holing. Physics doesn't work that way." as well as others. We will wash away the nonsense, and fill you with optimism and information.
Matthew Katz has taught ceramic materials for artists at Alfred University for over 15 years. He is a working ceramic artist with a B.F.A from Alfred and M.F.A. from the University of Colorado-Boulder and has worked as a Ceramic Engineer and researcher for almost 20 years.
This lecture is free and open to the public. Sign up below!
2018-19 Artist in Residence at Ceramics Program, Office for the Arts at Harvard
Natalia Arbelaez is a Colombian American artist, born and raised in Miami, Florida. She received her B.F.A. from Florida International University and her M.F.A. from The Ohio State University, where she received an Enrichment Fellowship. She completed a yearlong residency at the Clay Art Center; Port Chester, New York as a Barbara Rittenberg Fellow and was awarded the 2016 Inaugural Artaxis Fellowship that funded a residency to the Watershed in Newcastle, Maine. Her work has been exhibited nationally, in museums, galleries, and included in various collections. She has been recognized by the National Council on Education for Ceramic Arts as a 2018 Emerging Artist in the field. Natalia currently lives and works in New York.
Amid the devastation following World War II, German artists and filmmakers engaged in technical experimentation that drew upon multiple media as they sought to redefine the nature of artistic practice and its relationship to national identity. Among these experimental forms was cameraless animation, a method of abstract filmmaking that involves the direct manipulation of film through scratching, puncturing, painting, and chemical alteration of emulsion.
For nearly four decades, David Levinthal has used the Polaroid format to explore the intersection between myth, fantasy, history, and memory in American culture by meticulously staging tableaus of figurines, dolls, and ephemera. The works reveal the role images play in shaping cultural memory, while also illustrating how cultural memory is rehearsed and enforced in material culture.