“Rethinking Enlightenment” showcases Houghton Library’s remarkable holdings of texts by eighteenth-century French women. Beyond describing how these writers critiqued their society, the exhibition demonstrates their active participation in the philosophical and artistic development of modern France. For scholars of the Enlightenment to anyone interested in women’s history, it is a timely reminder of the forgotten figures in intellectual history.
Presented in conjunction with the bicentenary of the Harvard Map Collection, this exhibition brings together over sixty landmark literary maps, from the 200-mile-wide island in Thomas More’s Utopia to the supercontinent called the Stillness in N. K. Jemisin’s 'The Fifth Season.'
The history of art is usually presented as a forward march, with individual works studied as points along a path of progress to the present. This installation—matching the Harvard survey course it accompanies—reverses that familiar direction. The sequence proceeds from recent art back to the Renaissance. This retrospective history of art is meant to capture the point of view of artists themselves, who have, for generations, tried—variously—to preserve, transform, surpass, or overturn what came before them.
Rome, known as the “common fatherland,” was the goal of pilgrims, travelers, and artists from all over Europe. One of the most celebrated was Giovanni Battista Piranesi (1720–1778), a Venetian who spent his entire career in Rome. He produced on average two etchings a month (fourteen are featured in this installation), and his image of Roman grandeur left an indelible stamp on the European imagination.
The Harvard Art Museums present Fernando Bryce’s The Book of Needs, a multipart work comprised of 81 ink-on-paper drawings. Bryce, who was born in Peru but has lived extensively in Berlin and New York, selectively reconstructs images from early issues of the UNESCO Courier, published in English, French, and Spanish since 1948. Over its history, the journal has focused on science, education, race, culture, politics, and international strife, among other subjects.
Join us in welcoming California-based sculptor Michelle Gregor to the Ceramics Program for an evening demonstration and slide lecture. Gregor will lead students in sculpting the human figure in clay with a live process demonstration, improvisational exercises, and a slide presentation. Participants will learn the construction techniques to help push past the common stumbling blocks of proportion, movement, and balance in constructing the human figure. All skill levels welcome.
Gallery 224 at the Harvard Ceramics Program Presents
HAND CODE: Makers in Proximity
Exhibition Dates: February 23 – March 24 Closing Reception & Panel Discussion: Saturday March 24, 3-6pm - FREE - RSVP
Location: Gallery 224 at Harvard Ceramics Program 224 Western Ave, Allston, Massachusetts 02134
Gallery Hours: 9am - 8pm, Monday - Friday
Two makers, one room, one material. One is spinning pots on an electric potter’s wheel. Another is creating digital designs, sending them to a 3D printer and tending to that machine’s manners of extruding. They are both working in clay. What forms do they produce? What do these very different approaches to creating look like in contrast to one another? What does a 3D Printer look like? How does a potter work in our current time? What can be learned from seeing these two makers in proximity to one another?... Read more about Exhibition | Hand Code: Makers in Proximity
Fred Herbst: Material Collaborations: A unique woodfired kiln was developed by ceramic artist and educator Fred Herbst in collaboration with the Corning Museum of Glass in 2008. This kiln design was built in order to fire ceramics and blow glass simultaneously using renewable wood fuel. Two kilns have been built, one at Corning Community College in Corning, New York and one at the Domaine de Boisbuchet in France, where they both continue to reveal new possibilities with clay and glass.
Explore and consider the bird: The world of birds is full of diverse feather colors that combine to form amazing plumage patterns-- from neon yellow to somber black. How and why do birds achieve these decorative feats?