Installation artist Helen Marriage, a Loeb Fellow at the Harvard Graduate School of Design, conversed with Professor Rahul Mehrotra about a modern conundrum: In an increasingly secular age, can public space be spiritual? "Streets of Gold" continues the series on April 5.
Dawoud Bey’s photographs of the keystone, changing neighborhood of Harlem are part of a new Cooper Gallery exhibit.
A new exhibit at Harvard Art Museums re-creates the Philosophy Chamber, located in Harvard Hall in the late 18th and early 19th centuries.
Curious visitors who turn left off the Harvard Art Museums’ elevators on the building’s fourth floor are greeted by the Forbes Pigment Collection, a floor-to-ceiling wall of color compiled from about 1910 to 1944 by the former director of the Fogg Museum.
“Analogia I” by Victor Grippo is one of the Harvard Art Museums’ many works by artists who were redefining the global artistic landscape in the second half of the 20th century. The piece incorporates a series of potatoes connected to electrodes and a meter that registers the energy they produce.
An exhibit at Pusey Library demonstrates how the first Harvard class photograph albums evolved. In the antebellum 19th century, photography was young, image technologies were changing fast (often with Boston practitioners in the lead), and Harvard students began adding the visual to the repositories of memory that for centuries had been dominated by text.
Legendary Dutch architect Rem Koolhaas discusses the ideas and politics behind his latest projects during a presentation at the Harvard Graduate School of Design
This season’s In-Sight Evenings begin at the Harvard Art Museums, mixing a freewheeling soiree with an inspired lecture.
In honor of his creative achievements, architect Frank Gehry received the Harvard Arts Medal in a ceremony that marked the kickoff to Arts First, Harvard’s four-day celebration of student and faculty creativity.
Makeda Best has been named the new Richard L. Menschel Curator of Photography at Harvard Art Museums.
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The title of Hillary Chute’s Nov. 29 lecture, “Out of the Gutter: Contemporary Graphic Novels by Women,” has a double meaning. It refers to the elevation of graphic narratives — comics — from the lowest, most disreputable level of artistic expression to a form worthy of New York Times best-sellerdom, literary prizes, and academic attention.
A Davis Center photo exhibit — wrenching and frank — brings back the 872-day Siege of Leningrad through the eyes of women who survived it.
Photojournalist Randy H. Goodman was America’s eyes during the Iran hostage Crisis in 1980. Now, after a return trip in 2015, her exhibit “Iran: Women Only” is on display at CGIS Knafel.
Through her art and articulate explanations of her own struggle with an eating disorder, visiting artist Judith Shaw explained the internal experience of victims of anorexia to her audience at the opening reception of "Body of Work" at the Student Organization Center at Hilles.
Tunisian artist eL Seed took his spray paints out into the cold last week to create an example of “calligraffiti” in the Science Center’s plaza.
Edward Lear, a master of nonsense verse and travel writing, was at a young age one of the most accomplished natural history painters of his time.
The renovated and expanded Harvard Art Museums reopen on Nov. 16 with a new building designed by Italian architect Renzo Piano that unites the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum under one shining glass roof.
Legendary fashion designer Calvin Klein spoke at the Harvard Graduate School of Design Monday evening about how the language of architecture has influenced his 40-year career and now, the rest of his life.
More than a masterful artist, Albrecht Dürer strongly influenced 16th-century science with cartographic and anatomical work that gets little attention from art historians.
“Early Photography of Japan,” a virtual collection of more than 2,000 images from three Harvard University libraries, documents the early history of Japanese commercial photography, and reflects the Western image of traditional Japanese culture before modernization.
Christina Leigh Geros’ creation for Radcliffe’s Wallach Garden is brilliantly responsive to its surroundings.
Peter A.B. ’52, M.B.A. ’54 and Anne Brooke of Boston have announced plans to bequeath their collection of 17th century Dutch and Flemish paintings to the Harvard University Art Museums (HUAM).
Prior to arriving on campus as Harvard Art Museums director, Martha Tedeschi was the deputy director for art and research at the Art Institute of Chicago. She recently spoke with the Gazette about her new role.
Recently the Harvard Art Museums acquired the evocative “A Flor de Piel,” a room-sized tapestry by contemporary Colombian artist Doris Salcedo made of thousands of dyed rose petals stitched together to form a giant burial shroud. For the director of Harvard’s Straus Center for Conservation and Technical Studies, this was a first.
Arab-American artist Helen Zughaib tells the story of the Middle East’s spate of revolutions with brightly colored paintings in her latest exhibit, “Arab Spring/Unfinished Journeys.”
American artist Winslow Homer’s evocative oil painting “Summer Night,” depicting a scene along the Maine coast, is on loan to the Harvard Art Museums from the Musée d’Orsay in Paris. The local museums’ director Martha Tedeschi, a Homer scholar, discussed the artist and his work.
For filmmakers, the visual image is vital. But movie producer Rebecca Baron is more interested in what you can’t see.
A new exhibition of works at the Rudenstine Gallery explores the work of artist Elizabeth Catlett.
“Breaking Boundaries: Arts, Creativity and the Harvard Curriculum” was featured at Arts @ 29 Garden, which is an interdisciplinary space where Harvard faculty, students, and visiting artists come together to make art that enhances, embodies, and re-imagines learning.
A new art exhibit opens a yearlong celebration of the Carpenter Center for the Visual Arts, which turns 50 in May.
Abstract artist Mark Rothko’s series of Harvard murals will be displayed in November using a digital technology that casts light on the paintings to restore their faded colors.
In his weekly 90-minute lectures, Professor Robin Kelsey brings historical awareness and contextual experience to 13 technologies that have transformed visual communication.
The Harvard Art Museums exhibit “Flowers of Evil: Symbolist Drawings, 1870–1910,” on view through Aug. 14, borrows its name from the 1857 collection of symbolist poems about decadence and eroticism by the French poet Charles Baudelaire. It also captures the essence of an artistic movement that sought to render the invisible visible through the use of color, form, and composition.
The words “Folding, Refraction, Touch” provided a useful framework for the Busch-Reisinger Museum’s exhibition of works by Wolfgang Tillmans and other modern and contemporary artists in dialogue with the German photographer.
For College student Jasper Johnston ’20, discovering Harvard is a shared experience through Instagram.
“Calm. Smoke rises vertically” at Radcliffe Institute for Advanced Study’s Johnson-Kulukundis Family Gallery is designed for the blind and hearing-impaired, but gives the sighted a unique experience as well.
A new exhibition at the Harvard Art Museums offers up a diverse sampling of the museums’ rich collection of drawings, while highlighting the creativity of Harvard’s classrooms.
To Hugo van der Velden, professor of history of art and architecture in the Faculty of Arts and Sciences, the Ghent Altarpiece is more than a landmark — it’s also an excellent teaching tool. The painting is the focus of Van der Velden’s History of Art and Architecture course, “Jan van Eyck and the Rise of Painting.”
Establishing links between otherwise disparate cultural, intellectual, and technological categories has long been the job of the architect, an arbiter of aesthetic connection. Who else can create a bond between the Parthenon and a sports car, bricks and B movies, octogenarians and the color orange?
A new exhibit at the David Rockefeller Center for Latin American Studies pairs historic postcards with visions of current Havana.
A research project and photo archive, as well as an art installation and the publication of reissued works on the image of the black in Western art, come to life at Harvard’s W.E.B. Du Bois Institute.
Adolphus Busch Hall, once home to the Harvard Art Museums/Busch-Reisinger Museum, is amid a major renovation. Recently completed work includes restoration of two once-controversial artworks critical of fascism.
A new exhibition at the Arthur M. Sackler Museum profiling the print-inspired works of contemporary artist Jasper Johns was put together with the help of four Harvard undergraduates.
Harvard’s Carpenter Center for the Visual Arts, soon turning 50, was celebrated at the Graduate School of Design through a visit from its first director, Eduard Sekler, along with early faculty and students.
Lauren Greenfield ’87 spoke with a Harvard audience about her 25 years of experience as a photographer and filmmaker as part of the Office for the Arts’ “Harvard JAMS!” series. The sessions connect students and members of the Harvard community with alumni who have made a career in entertainment or the arts.
A collection of the early drawings of the naturalist John James Audubon show his growth into an expert ornithologist and artist. The 114 drawings, created between 1805 and 1821, constitute one of only two such extensive collections of his early work.
“Seeds of Culture: The Portraits and Stories of Native American Women” is on view through May 28 at the Johnson-Kulukundis Family Gallery. The exhibit features 25 photos of Native American women, with interviews, written narratives, music, and song.
Allston artist Konstantin Simun’s sculptures are inspired by his environment. His work is on display at the Harvard Ed Portal’s Crossings Gallery.
“Drawings from the Age of Bruegel, Rubens, and Rembrandt” serves as an intimate study of art in progress.
Some of the groundwork for a planned 2019 exhibit on Harvard and the Bauhaus has already found a place online.