Podcasts about Harvard Art Museums

In this episode of Platemark, Ann sits down with Angelina Lippert, a poster historian and the curator and director of Poster House, to discuss the inception and growth of the first museum in the U.S. dedicated exclusively to the art and history of posters. They talk about what makes posters and fine art prints the same and different. And they discuss the challenges and processes of acquiring, preserving, and showcasing posters, the historical and cultural significance of early advertising posters, and the often-overlooked artistry involved in their creation.  Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Poster House website https://posterhouse.org/ Poster House IG @posterhousenyc   Poster House façade on 23rd Street. Courtesy of Poster House. Poster House's lobby/café. Photo by Elizabeth Berger. Max Beckmann (German, 1884–1950). Actors, 1941–42. Oil on canvas. Overall: 207.3 × 341.9 × 6.4 cm. (81 5/8 × 134 5/8 × 2 1/2 in.). Harvard Art Museums, Cambridge. Henri de Toulouse Lautrec (French, 1864–1901). The Jockey, 1899. Lithograph. Sheet: 51.7 × 36.3 cm. (20 3/8 × 14 5/16 in.). National Gallery of Art, Washington, D.C. Posters from Maîtres de l'Affiche, 1895–1900. Lithographs. Inter-Antiquariaat Mefferdt & De Jonge, Amsterdam. Pierre Bonnard (French, 1867–1947). L'Estampe et l'affiche, 1897. Lithograph. Sheet: 32 11/16 × 24 3/16 in. (83 × 61.5 cm.). Metropolitan Museum of Art, New York. Pierre Bonnard (French, 1867–1947). France-Champagne, 1891. Lithograph. Image 78 x 57.8 cm.; sheet 79.4 x 58.8 cm. National Gallery of Australia, Canberra. Dawn Baillie (American, born 1964). Movie poster for The Silence of the Lambs, 1991. Lithograph. Poster House, New York. Henri de Toulouse Lautrec (French, 1864–1901). Moulin Rouge: La Goulue, 1891. Lithograph. sheet: 74 13/16 x 45 7/8 in. (190 x 116.5 cm.). Metropolitan Museum of Art, New York. A.M. Cassandre (French, born Ukraine, 1901–1968). Nord Express, 1927. Lithograph. 41 3/8 x 29 1/2 in. (105.09 x 74.93 cm.). Minneapolis Institute of Arts, Minneapolis. Paula Scher (American, born 1948). The Diva is Dismissed, 1994. Lithograph. 46 x 30 1/8 in. (116.8 x 76.5 cm.). Museum of Modern Art, New York. Dafi Kühne (Swiss, born 1982). Tunnel III, 2023. Letterpress and linocut. 70 x 100 cm. Typographic Posters. Winston Tseng. Kamala, 2024. Lithograph. Courtesy of Winston Tseng's IG account. Nike. The Best on Earth/The Best on Mars, 1989. Lithograph. Courtesy of Poster House. Boris Bućan (Croatian, born Yugoslavia, born 1947). Voltaire: Candide, 1983. Lithograph. Courtesy of Poster House. Lester Beall (American, 1903–1969). Light/Rural Electrification Administration, 1937. Lithograph. Courtesy of Poster House.

We start the show by asking about the acceptance of political violence, following the healthcare executive murder. Then, GBH News executive arts editor Jared Bowen discusses Commonwealth Shakes' A Christmas Carol and Made in Germany at the Harvard Art Museums. National security expert Juliette Kayyem discusses the Wisconsin school shooting, and the arrest of a US-Iranian citizen in Massachusetts in connection to a drone strike that killed American soldiers in Jordan earlier this year. Catherine D'Amato of the Greater Boston Food Bank and Linda Matchan of Globe Santa talk about how to help the hungry and less fortunate this holiday season. CNN's John King joins to discuss the latest national politics headlines. Then we open up the phone lines to hear about your best and worst holiday office party experiences. 

Die Schritte von Esel und Teddy hallten gedämpft durch Raum 2700 des Harvard Art Museums. Fünfzig Jahre Freundschaft hatten sich in ihren leicht gebeugten Körpern eingegraben, in den Falten um ihre Augen, in der Art, wie sie sich bewegten - synchron und doch unterschiedlich. Ihre Podcast-Jahre hatten ihnen mehr als nur eine Rente eingebracht: Sie hatten sich ein Ritual geschaffen – das Bereisen der bedeutendsten Museen der Welt, ein stummes Bekenntnis ihrer noch immer wachen Intelligenz. Vom Logan Airport aus, diesem architektonischen Ungetüm, das Boston wie eine industrielle Lunge durchatmet – grau, präzise, unbarmherzig – waren sie am Morgen gelandet. Sie spürten noch den kalten Dezembertag, als sie vor Whistlers Nocturne standen. Der bläulich-silberne Nachthimmel schien nicht nur das Gemälde zu durchdringen, sondern auch ihre Erinnerungen – vage, geheimnisvoll, mit verborgenen Nuancen. Esel räusperte sich. Ein Geräusch, das wie ein angefangener Satz klang. "Weißt du noch", begann er, und Teddy wusste sofort, worauf er anspielte, "wie wir damals dieses Quiz gegen Johannes und Stefan verloren haben?" Teddy nickte. Sein berühmtes Lachen – einst so präsent wie sein Atmen, dass es beinahe Teil seiner Physiologie gewesen war – es existierte nicht mehr. Es war an jenem Tag gestorben, an dem mehr als nur ein Spiel verloren ging. Ein Lachen, das früher jede Bemerkung, jeden Gedanken durchdrang, war nun eine Leerstelle, ein stummes Trauma. Der Podcast ihrer Gegner – seinen Namen hatten sie längst vergessen. "Vermutlich etwas total Sinnloses oder irgendwas mit Piraten", murmelte Esel und versuchte, die Schwere des Moments zu brechen. Aber Teddy blieb stumm, sein Blick fest auf die changierenden Blau- und Silbertöne geheftet. Die Niederlage war mehr als ein intellektueller Moment gewesen. Es war eine Häutung, ein Prozess, bei dem etwas Wesentliches von ihnen abfiel. Eine Demütigung, die sich wie ein chronischer Schmerz eingenistet hatte – mal pochend, mal unterschwellig, aber immer präsent. "Wir haben nicht nur ein Spiel verloren", flüsterte Teddy, und seine Stimme war so leise, dass sie fast im Rauschen der Museumsstille unterging, "sondern unsere Selbstachtung." Esel nickte. Die Erinnerung war wie dieses Bild – scheinbar klar, aber voller verborgener Schichten, Nuancen, die sich dem ersten Blick entzogen. Johannes und Stefan – Namen, die nun wie Geister durch ihre gemeinsame Geschichte schwebten. Seit diesem Tag hatten sie nie wieder Kontakt aufgenommen. "Glaubst du, sie denken noch an uns?" fragte Esel. Teddy zuckte kaum merklich mit den Schultern – eine Bewegung, die mehr Resignation als Gleichgültigkeit ausdrückte. "Ich schätze, nicht mehr als wir an sie." Das Bild pulsierte plötzlich, schien zu atmen – ein stummer Zeuge ihrer jahrzehntelangen, unausgesprochenen Trauer. Ein Dokument des intellektuellen Versagens, festgehalten in Blau und Silber. Draußen begann die Dämmerung, blau und silbern – genau wie Whistlers Nocturne. https://www.nytimes.com/interactive/2024/07/20/upshot/attention-experiment.html

In s3e66 of Platemark, host Ann Shafer talks with Jennifer Roberts, an art historian and professor at Harvard, about her latest book, Contact: Art and the Pull of Print, which explores the intersection of intellectual and technical richness in print. Jennifer's book offers a fresh perspective on printmaking, synthesizing simple maneuvers like reversal and pressure to account for the medium's expansive influence. Based on her acclaimed Mellon Lectures delivered during the pandemic, the book is both conversational and accessible, aiming to engage a wide audience beyond the traditional confines of print expertise.   They also talk about Jennifer's journey into the world of print, which began during her research into the movement and dissemination of images within the Anglo-American world during the 18th and 19th centuries. Initially focused on the path of oil paintings, she inadvertently found herself immersed in the world of prints, specifically currency engraving—an intricate craft demanding the production of unreplicable reproductive objects to combat counterfeiting.   Jennifer shares insights from her 20+ years of teaching where she emphasizes long looking at objects (3 hours!) and integrates studio and theoretical learning. Additionally, Jennifer discusses an exciting collaboration with artist Dario Robleto. Their joint work delves into the fascinating realm of printed sound, specifically examining the Golden Record—a phonographic record sent into space on the Voyager probes. This project exemplifies Jennifer's penchant for exploring the intersections of materiality, meaning, and communication within both earthly and cosmic contexts, as well as the intersections of art, science, and the evolution of visual culture. Cover photo: Sharona Jacobs. USEFUL LINKS Bio https://haa.fas.harvard.edu/people/jennifer-roberts IG @jenniferrrrrroberts Jennifer Roberts's books and lectures Contact: Art and the Pull of Print, 2024 https://press.princeton.edu/books/paperback/9780691255859/contact-art-and-the-pull-of-print?srsltid=AfmBOoq_6iSOwrkK9suakEqQRn7TWwBvOj4zyh0Gf3zLcw4gvTpA2uC3 Mellon Lectures, National Gallery of Art https://www.nga.gov/research/casva/meetings/mellon-lectures-in-the-fine-arts/roberts-2021.html Transporting Visions: The Movement of Images in Early America, 2014 https://www.ucpress.edu/books/transporting-visions/hardcover Jasper Johns/In Press: The Crosshatch Works and the Logic of Print, 2012 https://shop.harvardartmuseums.org/products/jasper-johns-in-press-the-crosshatch-works-and-the-logic-of-print The Metamorphic Press: Jasper Johns and the Monotype, 2017 https://www.academia.edu/35947545/The_Metamorphic_Press_Jasper_Johns_and_the_Monotype_2017_   Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook  

In this episode, Eric sits down with Dr. Makeda Best — deputy director of Curatorial Affairs at the Oakland Museum of California…!  She shares how; at a young age became interested in photography… Early exposures and experiences that drew her to studying studio photography at CalArts, to eventually leading her to become a photography historian. How she began to trace the history of African Americans in California — where they settled after the Civil War…  She shares how African Americans first became interested in and exposed to photography… and the ways in which they participated in making photographs early on; as makers, sitters and consumers. From Frederick Douglass as one of the most imaged figures in the 19th Century, Sojourner Truth… to everyday people — and using the power of photography to combat stereotypes against black people.  The role it played in the abolitionist movement; picturing community, preserving and sharing.  Notable African American photographers such as James Presley Ball and Augustus Washington… They discuss James van der Zee and how he photographed the Harlem Renaissance  — using large group portraits; to document Families, weddings… capturing how vibrant the period was. The art, skill and science behind photography and the technological developments through the years… From photography studios, to itinerant photographers with traveling dark rooms. The works of Ansel Adams. Daguerreotype - metal based images and how by the 1860s — the arrival of card-based format, cartes-de-visite processes and mass production portraiture that created an influx in making images and portraits — and how African Americans were involved in that.The exhibition she curated for the Boston Athenaeum that centers around the photography albums gifted to Harriet Hayden from lawyer Robert Morris — that explores the world of the Boston-based abolitionist couple Lewis and Harriet Hayden. How photography and gifting culture played a role in the abolitionist movement, their home on Beacon Hill, housing African Americans and the extraordinary efforts of Harriet Hayden and the contributions she made to society. How the exhibition came about, the process of producing the show and what it aims to accomplish..!  Guest Bio: Makeda Best, Ph.D., is currently the Deputy Director of Curatorial Affairs at the Oakland Museum of California (OMCA). Best comes to OMCA after serving at Harvard University Art Museums as Richard L. Menschel Curator of Photography since 2017, and previously as Assistant Professor of Visual Studies at California College of the Arts. Her exhibitions at the Harvard Art Museums include Devour the Land: War and American Landscape Photography Since 1970, Crossing Lines, Constricting Home: Displacement and Belonging in Contemporary Art; Winslow Homer: Eyewitness; Time is Now: Photography and Social Change in James Baldwin's America, and Please Stay Home: Darrel Ellis in Conversation with Wardell Milan and Leslie Hewitt. Beyond photography, Best conceived of the Museums' curatorial ReFrame initiative, which aims to critically examine the museum and its collections. With Kevin Moore, she co-curated the 2022 FotoFocus Biennial exhibition, On the Line – Documents of Risk and Faith. Her current exhibition project with the Boston Athenaeum explores the world of the Boston-based abolitionist couple Lewis and Harriet Hayden. Best has contributed to multiple exhibition catalogues, journals, and scholarly publications. She co-edited Conflict, Identity, and Protest in American Art (2015). She is the author of Elevate the Masses: Alexander Gardner, Photography and Democracy in 19th Century America. Her exhibition catalogue, Devour the Land: War and American Landscape Photography since 1970 (2022), was awarded the Photography Catalogue of the Year Award at the 2022 Paris Photo-Aperture PhotoBook Awards.

Just in time for NATIONAL READ A BOOK DAY - September 6, teen-author Michael Hoffen, has been spending HIS TIME going back some 4,000 years. Michael worked for three-and-a-half years translating hieroglyphics to modern-day prose. Yet only to discover, what people want for their children today, is very much the same as even some 4,000 years ago! He is the youngest-ever recipient of the annual Emerson Prize. BE A SCRIBE Working For A Better Life In Ancient Egypt by Michael Hoffen Michael Hoffen and the protagonist in his new book are both teenagers, but there's quite an age gap between them—about 4,000 years. In Hoffen's new book, BE A SCRIBE: Working For a Better Life in Ancient Egypt (Callaway Children's Classics, April 9, 2024), he brings to life the story of a young Egyptian, Pepi, whose father, Kheti, is intent on getting his son a job in the royal court. Hoffen, who has been translating ancient texts since middle school, became fascinated by a 4,000-year-old or so piece of literature from ancient Egypt's Middle Kingdom known as The Instruction of Khety, or “The Satire of the Trades.” Under the guidance and collaboration of his two co-authors, Egyptologists Christian Casey and Jen Thum, Hoffen spent three-and-a-half years translating hieroglyphics to modern-day prose and gathering images to tell the story of Kheti and Pepi. Beyond the words, which reveal a wit that transcends 4,000 years, ancient Egypt comes to life with more than 100 beautiful images of vibrant and colorful ancient Egyptian artifacts, paintings, graphics and illustrations that are featured throughout the book. This young author, a scribe himself, has given us a tale that helps us to see just how little the human condition has changed in thousands of years. Parents still want the best for their children and teenagers face important decisions as they set out on their career path. For younger readers, the book serves as an inspiration for their own journey toward gaining greater knowledge, exercising intellectual curiosity and, perhaps, finding their own career paths. Michael Hoffen is the youngest-ever recipient of the annual Emerson Prize, awarded by the Concord Review for outstanding promise in history. While still in middle school, he was introduced to the joys of translating ancient texts and never looked back. During the COVID pandemic, Michael embarked on an ambitious project to bring ancient Egyptian literature to life outside the classroom. Be A Scribe! is Michael's first book in a series. When not chasing down new stories to translate or write, Michael enjoys biking, swimming, and rock climbing. He lives with his family in New York. Dr. Christian Casey is an Egyptologist who specializes in the study of ancient Egyptian languages. He obtained his PhD in Egyptology from Brown University in 2020 and now works as a researcher at Freie Universität Berlin. He is especially interested in sharing the exciting world of ancient Egypt with young people and other interested members of the public. Dr. Jen Thum is an Egyptologist, educator, and curator at the Harvard Art Museums. She studied Egyptology and archaeology at the University of Oxford and Brown University. Jen's work celebrates the learning potential of ancient material culture, especially across disciplines. She teaches at the Harvard Graduate School of Education, writes and leads workshops about learning with art and artifacts, and is the lead editor of Teaching Ancient Egypt in Museums: Pedagogies in Practice. Jen conceived of Be A Scribe! after recognizing the need for accessible ancient Egyptian primary sources for young learners. Be a Scribe By Michael Hoffen, Dr. Christian Casey, Dr. Jen Thum Callaway Children's Classics; April 9, 2024 $24.99; 96 pagesISBN-13: 979-8987412435 His interactive, highly illustrated book BE A SCRIBE! Working For A Better Life In Ancient Egypt recently released. It's beautifully placed currently among many locations, at

Episode No. 670 features artist Arlene Shechet.  Storm King Art Center in New Windsor, NY is showing "Arlene Shechet: Girl Group" through November 10. The exhibition joins Shechet's recent work exhibited in a typical gallery setting to six new monumental sculptures Shechet  created for installation at Storm King. The exhibition was co-curated by Nora Lawrence and Eric Booker, with Adela Goldsmith.  On September 27 and 28, a group of six women will gather to dance at dusk in the midst of Shechet's outdoor sculptures. The performances are choreographed by Annie-B Parson in collaboration with the dancers: Cecily Campbell, Elizabeth DeMent, Natalie Green, Kashia Kancey, Brooke Ashley Rucker, and Jin Ju Song-Begin. Costumes for the performances were designed by Shechet. Tickets are available through Storm King's events page.  Shechet's work is also on view at many art museums around the United States, including at deCordova Sculpture Park and Museum, Lincoln, Mass., in "Disrupt the View: Arlene Shechet at the Harvard Art Museums," and more. Shechet is one of the nation's greatest living sculptors. Among the institutions that have presented solo exhibitions of her work are The Phillips Collection, Washington, DC; The Frick Collection, New York; and the Joslyn Art Museum, Omaha. In 2015 the Institute of Contemporary Art, Boston presented a mid-career survey. (On the occasion of that exhibition, Shechet was a guest on Episode No. 194 of The MAN Podcast.)  Instagram: Arlene Shechet, Tyler Green.

Enjoy our special episode from the exhibition When We See Us: A Century of Black Figuration in Painting at Kunstmuseum in Basel recorded by Anne Kimunguyi. Many of you know Anne from her Shade Art Review. features.Our guest is Head of Contemporary Art at Kunstmuseum Basel, Maja Wismer. As part of her role, she specialises in art of the late 20th and early 21st century, having previously held the role of Curatorial Fellow at the Busch Reisinger Museum of the Harvard Art Museums. Based at the Kunstmuseum, her previous work has seen the realisation of the exhibition ‘Kara Walker. A Black Hole is Everything a Star Longs to be', as well as projects involving the move of the works of Joseph Beuys from the newly created space – Museum fur Gegenwarsknust, a museum dedicated exclusively to contemporary art in 1980. Please help save our independent podcast by donating £5 hereRead Shade Art Review Shade Art Review Series 11 | 20% discount codeShade Podcast InstagramShade Podcast WebsiteShade Podcast is Executive produced and hosted by Lou MensahMusic King Henry IV for Shade Podcast by Brian JacksonEdit & Mix by Mae-Li EvansEditorial support from Anne Kimunguyi Help support the work that goes into creating Shade Podcast. https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

Veronika Trufanova always had a passion for environmental sustainability, making her the perfect fit for her role as Director of Development at the Emerald Necklace Conservancy, a historic linear park system in Boston that introduced one the first example of green infrastructure in the nation. Nika now works to sustain the parks impact on the city while growing awareness for its rich history, a huge task in a city with over 650,000 residents.  Nika discusses how Sherry's fresh perspective has revamped her team's strategic plan while generating morale throughout her organization. The two share about the power of curiosity in young fundraisers, and how that energy can translate to your relationships with donors.   What You Will Discover:  ✔️ A well-thought-out, purpose driven strategic plan can unlock the spark your organization needs to take on that big capital campaign ✔️ It's important to take a step back from the everyday grind and celebrate wins, even the smallest victories, to boost morale in your staff and donors ✔️ The most important trait a young fundraiser can have is a curiosity for understanding their organization's mission ✔️ By truly understanding the needs of your organization, you can create a personal and generous atmosphere that allows your donors to really feel like they're making an impact —————————————— Veronika (Nika) directs the Conservancy's fundraising program, including individual, corporate, foundation and government grants, the annual giving program, and other special fundraising initiatives. Nika previously worked at the Asian Art Museum of San Francisco, where she led the Institutional Giving program for over six years, raising unrestricted, project-based and campaign support from corporations, foundations and government granting agencies. She also held several roles on the development team at the Harvard Art Museums, encompassing database management, development operations and donor and member events. Nika holds a bachelor's degree in Art History from Haverford College. She is an avid tea drinker and an unabashed Italophile. LinkedIn: https://www.linkedin.com/in/veronika-trufanova-5770bb8/ Website: https://www.emeraldnecklace.org/ —————————————— Welcome to the Business Behind Fundraising podcast, where you'll discover how to raise the kind of money your big vision requires without adding more events, appeals, or grant applications. Learn how to stop blocking overall revenue growth and start attracting investment-level donors with Sherry Quam Taylor. Sherry Quam Taylor's unique approach and success combine her background of scaling businesses with her decade-long experience advising nonprofit leadership teams. With out-of-the-box principles and a myth-busting methodology, proven results, and an ability to see solutions to revenue problems that others overlook, her clients regularly add 7-figures of revenue to their bottom line. If you need a true partner to show you how to fully finance your entire mission, both programs, AND overhead, year after year… You're in the right place!   #nonprofits #podcast

Episode Notes Kim, H. K., & Nam June Paik Art Center. (2008). Nam June Paik. Nam June Paik Art Center. https://njpac-en.ggcf.kr/exhibition/nam-june-paik/ Electronic Arts Intermix. (n.d.). Nam June Paik: Bakelite Robot. Electronic Arts Intermix. https://www.eai.org/titles/bakelite-robot Tate. (n.d.). Nam June Paik: Bakelite Robot (2002) – Artwork details. Tate. https://www.tate.org.uk/art/artworks/paik-bakelite-robot-t12764 Solomon R. Guggenheim Museum. (n.d.). Nam June Paik: Bakelite Robot (2002) – Exhibition Overview. Solomon R. Guggenheim Museum. https://www.guggenheim.org/exhibition/nam-june-paik Nam June Paik Estate. (n.d.). Bakelite Robot. Nam June Paik Estate. http://www.paikstudios.com/pages/bakelite-robot The Museum of Modern Art. (n.d.). Nam June Paik. The Museum of Modern Art. https://www.moma.org/artists/4471 Harvard Art Museums. (n.d.). Paik, Nam June. Harvard Art Museums. https://www.harvardartmuseums.org/collections/person/28226?person=28226 Centre Pompidou. (n.d.). Nam June Paik. Centre Pompidou. https://www.centrepompidou.fr/en/ressources/personne/c8Gyjk MoMA PS1. (n.d.). Nam June Paik: Becoming Robot. MoMA PS1. https://www.moma.org/calendar/exhibitions/4099 Smithsonian American Art Museum. (n.d.). Paik, Nam June. Smithsonian American Art Museum. https://americanart.si.edu/artist/nam-june-paik-3737 Find out more at https://three-minute-modernist.pinecast.co

In this episode, Dr. Hettie V. Williams is in conversation with Dr. Makeda Best. Williams is the current director of the William Monroe Trotter Institute for the Study of Black Culture at UMass Boston and Best is the Deputy Director of Curatorial Affairs at the Oakland Museum of California where she overseas the curatorial collections and production departments. She was formerly a curator and head of the Division of Modern and Contemporary Art at Harvard Art Museums. Some of her exhibitions include Time is Now: Photography and Social Change in James Baldwin's America and Devour the Land: War and American Landscape Photography Since 1970. Best is also a writer, historian and author and the current curator of Framing Freedom: The Harriet Hayden Albums that recently opened at the Boston Athenaeum. Hayden was a 19th century Beacon Hill based abolitionist and social justice advocate. She was also a collector of photo albums that were given to her by prominent Bostonians. These albums that tell us about Black abolitionists, their public identities, and private lives are the subject of this exhibit and the focus of the conversation in this show. The focus of this exhibit is on two photo albums in particular owned by Harriet Hayden that contain 87 cartes-de-visite (small portrait photograph mounted on a piece of card) that help to tell us about Black material culture, social activism, and the daily lives of key figures in the abolitionist movement in Boston. For more information on the Framing Freedom exhibit click here: Harriet Hayden Albums 

Episode No. 643 of The Modern Art Notes Podcast features curator and art historian John P. Bowles and artist Stacy Kranitz. Along with Dennis Carr and Jacqueline Francis, Bowles is the co-curator of "Sargent Claude Johnson," a survey of the artist's career at The Huntington Library, Art Museum, and Botanical Gardens in San Marino, Calif. through May 20. The exhibition features over 40 works Johnson, a major Harlem Renaissance-era sculptor who lived in Oakland, Calif., made between the Great Depression and the civil rights era. It is the first Johnson exhibition in over 25 years. The excellent exhibition catalogue was published by the Huntington. Amazon and Bookshop offer it for about $40. The second segment features photographer Stacy Kranitz. Earlier this month Pro Publica published "The year after a denied abortion," an extraordinary story and photo essay by Kranitz and Kavitha Surama. The piece follows Mayron Michelle Hollis as the state of Tennessee simultaneously questioned Hollis' fitness to care for her four children and forced her to continue a life-threatening pregnancy. Kranitz was featured on the program in September 2023 when “A Long Arc: Photography and the American South since 1845” debuted at the High Museum of Art, Atlanta. The exhibition opens at the Addison Gallery of American Art in Andover, Mass., this weekend. It will remain on view through July 31. The exhibition considers the South as a forger of American identity and examines how Southern photographers have contributed to both the advance of their medium, and the US project. “A Long Arc” was curated by Gregory J. Harris and Sarah Kennel. The catalogue was published by Aperture. Bookshop and Amazon offer it for about $70. Kranitz's work, primarily made in the southern Appalachian Mountains, presents the complexity and instability of a rugged region on which industry has preyed. Her work is in the collection of museums such as the Harvard Art Museums and the Museum of Fine Arts, Houston. Her 2022 book As it Was Give(n) to Me was published by Twin Palms and was shortlisted for a Paris Photo-Aperture First Photobook Award. Bookshop and Amazon offer it for about $75-80. For images of Kranitz's work discussed on the program presented by series or project, please see Episode No. 620 and: As it Was Give(n) to Me; From the Study on Post Pubescent Manhood; Fulcrum of Malice; and Target Unknown.

"Objects of Addiction", a new exhibition at the Harvard Art Museums, explores the entwined histories of the opium trade and the Chinese art market between the late 18th and early 20th centuries. Curator Sarah Laursen joins us to talk about how opium and Chinese art, acquired through both legal and illicit means, had profound effects on the global economy, cultural landscape, and education—and in the case of opium, on public health and immigration—still reverberate today.

Platemark hosts Ann Shafer and Tru Ludwig offer up a bonus HoP episode featuring a conversation about a single work of art. Occasionally we will drop a BONUS EP ONE PRINT, which will take a single work and pull it apart with an eye toward exploring subject matter, technique, style, and composition. The first of these episodes features the etching Battlefield, 1907, by Käthe Kollwitz.   We hope this new kind of conversation resonates, and we'd love to hear your feedback and suggestions for other great prints worthy of a 90-minute episode.   Fun fact: Käthe is pronounced KAY-tuh, not Cathy; in Kollwitz, the W sounds like a V.   Episode image: Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.   Pierre-August Renoir. (French, 1841–1919). Luncheon of the Boating Party, 1881. Oil on canvas, The Phillips Collection, Washington, D.C. John Constable (English, 1776–1837). The Hay Wain, 1821. Oil on canvas. 130.2 × 185.4 cm. National Gallery, London. Wassily Kandinsky (Russian, 1866–1944). Composition IV, 1911. Oil on canvas. 62.8 × 98.6 in. (159.5 × 250.5 cm.). Kunstsammlung Nordrhein-Westfallen, Düsseldorf. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Jackson Pollock (American, 1912–1956). Number 1, 1950 (Lavender Mist), 1050. Oil, enamel, and aluminum on canvas. 221 x 299.7 cm (87 x 118 in.). National Gallery of Art, Washington, DC. Marcel Duchamp (American, born France, 1887–1968). The Bride Stripped Bare by Her Bachelors, Even (Large Glass), 1915–23. Oil, varnish, lead foil, lead wire, and dust on two glass panels. 9 ‘ 1 ¼” × 70” x 3 3/8” (277.5 × 177.8 × 8.6 cm). Philadelphia Museum of Art, Philadelphia. Rembrandt (Dutch, 1606–1669). Militia Company of District II under the Command of Captain Frans Banninck Cocq, also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch (commonly known as The Night Watch), 1642. Oil on canvas. 437 x 363 cm. City of Amsterdam. Henri Matisse (French, 1869–1954). The Blue Nude (Memory of Biskra), 1907. Oil on canvas. 36 1/4 x 55 1/4 in. (92.1 x 140.3 cm.). Baltimore Museum of Art, Baltimore. Mark Rothko (American, 1903–1970). No. 17, 1957. Oil on canvas. 232.5 x 176.5 cm. (91.5 x 69.5 in.). Christies. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAILS] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). The Ploughmen, no. 1 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 31.5 x 45.7 cm (12 3/8 x 18 in.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Raped, no. 2 from the series Peasants War, 1907–08. Etching, drypoint, sandpaper and softground etching. Plate: 308 x 529 mm. (12 1/8 x 20 13/16 in.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Sharpening the Scythe, no. 3 from the series Peasants War, 1908. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 11 3/4 × 11 11/16 inches (29.8 × 29.7 cm). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Arming the Vault, no. 4 from the series Peasants War, 1906. Etching, drypoint, aquatint, and softground etching. Plate: 19 1/2 x 12 7/8 in. Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. Jean-François Millet (French, 1814–1875) The Gleaners, 1957. Oil on canvas. 83.8 × 111.8 cm. (33 × 44 in.). Musée d'Orsay, Paris. Jean-François Millet (French, 1814–1875). The Gleaners, 1955. Etching. 192 x 253 mm. Rijksmuseum, Amsterdam. Käthe Kollwitz (German, 1867–1945). Self-Portrait, 1926–36. Bronze. Käthe Kollwitz Museum, Cologne. Georges Seurat (French, 1859–1891). Landscape, 1876–86. Black Conté crayon. 24.9 × 31.6 cm (9 13/16 × 12 1/2 in.). Art Institute of Chicago, Chicago. Ernst Barlach (German, 1870–1938). The Avenger, 1914. Bronze. 22.9 x 44.5 x 61 cm. Harvard Art Museums, Cambridge. Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. [DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. [DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. Mary Cassatt (American, 1844–1926). The Banjo Lesson, c. 1893. Color drypoint and aquatint with monoprint inking. Plate: 29.85 × 23.81 cm (11 3/4 × 9 3/8 in.); sheet: 41.9 x 29.2 cm (16 1/2 x 11 1/2 in.). National Gallery of Art, Washington, DC. Andrea Mantegna (Italian, c. 1431–1506). Lamentation over the Dead Christ, c. 1483. Tempera on canvas. 680 x 810 mm. Pinacoteca di Brera, Italy. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Baltimore Museum of Art, Baltimore. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam.

Episode No. 620 features artists Stacy Kranitz and Kristine Potter. Kranitz and Potter are included in "A Long Arc: Photography and the American South since 1845" at the High Museum of Art, Atlanta. The exhibition considers the South as a forger of American identity and examines how Southern photographers have contributed to both the advance of their medium, and the US project. "A Long Arc" was curated by Gregory J. Harris and Sarah Kennel, and will be on view through January 14, 2024 before traveling to the Addison Gallery of American Art, Andover, Mass., and to the Virginia Museum of Fine Arts, Richmond. The catalogue was published by Aperture. Bookshop and Amazon offer it for about $70. Kranitz's work, primarily made in the southern Appalachian Mountains, presents the complexity and instability of a rugged region on which industry has preyed. Her work is in the collection of museums such as the Harvard Art Museums and the Museum of Fine Arts, Houston. Her 2022 book As it Was Give(n) to Me was published by Twin Palms and was shortlisted for a Paris Photo-Aperture First Photobook Award. Bookshop and Amazon offer it for about $75-80. Aperture has just published Potter's second monograph, Dark Waters. The book extends Potter's interest in using the US landscape as an ideological site by exploring how nineteenth and twentieth-century 'murder ballads' marry site to misogynistic violence. Bookshop and Amazon offer it for about $43-61. Instagram: Stacy Kranitz, Kristine Potter, Tyler Green.

Sen. Sonia Chang-Diaz and former Gov. Jane Swift joined for a politics panel. Then, we opened the phone lines to ask listeners whether they think companies are losing productivity by letting employees work remotely on Mondays. Steven Pifer, former ambassador to Ukraine & senior fellow at Brookings, explained the Wagner Group rebellion in Russia and Ukraine's counteroffensive. Jared Bowen joined for an arts segment: Guadalupe Maravilla at the ICA, Evita at the A.R.T. and free admissions at the Harvard Art Museums. Michael Curry discussed the closure of a maternity ward in Leominster and a new report that ranks Massachusetts as best in the nation for its overall healthcare system. Corby Kummer discussed cell-cultivated chicken being approved for sale in the U.S. and the restaurants trying to use other people's food waste in their own menus. We continued the lab meat discussion and asked listeners to call in: would they eat “cell-cultured” meat for environmental or ethical reasons?

Episode No. 597 of The Modern Art Notes Podcast features artist Binh Danh and curator Jeffrey Richmond-Moll. Radius Books has just published a two-volume monograph titled, "Binh Danh: The Enigma of Belonging." The book, Danh's first monograph, brings together Danh's prints on plant matter that consider images associated with the war in Vietnam, and Danh's daguerreotypes of scenic vistas in the American West, his attempt to negotiate the land and history of a still-contested region. The book features essays by Danh, Boreth Ly, Joshua Chuang, Isabelle Thuy Pelaud, and Andrew Lam. Bookshop and Amazon offer it for about $60. Danh's work is on view in "Ansel Adams in Our Time" at the de Young Museum, San Francisco. The exhibition, which was curated by Karen Haas for the Museum of Fine Arts, Boston, is on view through July 23. Danh has had solo shows at museums such as the Cantor Arts Center, Stanford University; the North Carolina Museum of Art, Raleigh; and the Sheldon Museum of Art, University of Nebraska. He's in many major US museum collections, including at the Eastman House in Rochester, NY; the San Francisco Museum of Modern Art, the Harvard Art Museums, and the Huntington Library, San Marino, Calif. Richmond-Moll discusses "Object Lessons in American Art: Selections from the Princeton University Art Museum" at the Georgia Museum of Art. The exhibition features work from PUAM that present artworks about American history, culture, and society in ways that reveal how Princeton has taught and presented US art history. It's on view through May 14. A catalogue was published by PUAM. Bookshop and Amazon offer it for $30-40.

Welcome, Dr. Naomi Slipp, the Douglas and Cynthia Crocker Endowed Chair for the Chief Curator and Director of Museum Learning at the New Bedford Whaling Museum. Dr. Slipp oversees collections, curatorial, and museum learning across the museum, and manages 14 staff and about 100 volunteers. Prior to her arrival at the Museum, she was the Associate Professor of Art History at Auburn University at Montgomery, Alabama where she taught art history from the Renaissance to Modern Art. Naomi also managed the University's Cason McDermott Art Gallery and directed the Museum Studies Program. She holds a Ph.D. in art history from Boston University from the University of Chicago, and a BA from Hampshire College. Naomi served as the Executive Editor of Panorama: the Journal of the Association of Historians of American Art and worked at the Philadelphia Museum of Art, the Museum of Fine Arts, Boston, Harvard Art Museums, Terra Foundation for American Art, and Boston University Art Gallery. She has presented her research widely, including across the United States and in Canada, Belgium, and the UK. as well as publishing extensively. The Artists Index co-founder and Visual Arts Podcast Host, Ron Fortier, talks with Dr. Naomi Slipp about her career, beginnings, and passion for Art. This episode was recorded with Zoom in 2023. We continue using Zoom, our podcast host's studios, and our studio at the Spectrum Marketing Group in Howland Place in New Bedford. The In-Focus Podcasts are up close and personal conversations with the makers, performers, supporters, and cultural impresarios of the remarkable creative community of South Coast Massachusetts including New Bedford, Dartmouth, Fairhaven, Westport, and beyond. Music courtesy of www.bensound.com 

Fr. Eric Nicolai preaches at Ernescliff College about the beginning of Holy Week and the mysterious figure mentioned in the prophesies of Isaiah: the Man of Sorrows. In Isaiah he was a mystery, now he will take on a face, and a name, Jesus of Nazareth. Music: Prelude -Cello Suite 3- J.S. Bach. BWV 1009. For guitar. Thumbnail: Roberto Oderisi Italian, The Man of Sorrows with Instruments of the Passion, c. 1354 Cambridge (MA), Harvard Art Museums. For more meditations, check my channel: https://www.youtube.com/c/EricNicolai/videos

Meghann Riepenhoff © Geoffrey Berliner Meghann Riepenhoff's (b. 1979; Atlanta, GA) work has been presented internationally in exhibitions across the globe, including at the Museum of Fine Arts, Boston, MA; High Museum of Art, Atlanta, GA; Crystal Bridges Museum of American Art, Bentonville, AR; Denver Art Museum, CO; C/O Berlin, Germany; Aperture Foundation, New York, NY; and Houston Center for Photography, Houston, TX. Her work is held in permanent collections across the United States, including those of the San Francisco Museum of Modern Art, CA; Harvard Art Museums, Cambridge, MA; Museum of Fine Arts, Houston, TX; and Museum of Contemporary Photography, Chicago, IL, among others. In 2018, the artist was selected as the John Simon Guggenheim Memorial Foundation Fellow. Riepenhoff earned her BFA in Photography from the University of Georgia, Athens, and her MFA from the San Francisco Art Institute. The artist divides her time between Bainbridge Island, WA, and San Francisco, CA. Her book, mentioned in the interview is Ice. Meghann Riepenhoff , Waters of the Americas: Eastman Kodak's Emissions A (Confluence of the Genesee River and Lake Ontario, Rochester, NY, 03.14.2022), 2022 Three Dynamic Cyanotypes, Approximately 59 1/2" x 42" (151 x 106.5 cm) each element. © Meghann Riepenhoff, Courtesy Yossi Milo Gallery, New York  Meghann Riepenhoff, Waters of the Americas: Eastman Kodak's Emissions C (Confluence of the Genesee River and Lake Ontario, Rochester, NY, 03.13.2022), 2022. Dynamic Cyanotype, Approximately 59" x 59" (150 x 150 cm) © Meghann Riepenhoff, Courtesy Yossi Milo Gallery, New York 

The 50-year-old Brandywine Workshop and Archives in Philadelphia draws in artists, both unknown and very well-known, to push boundaries by producing limited edition prints. It's also an opportunity to get their work into major museum collections like the Harvard Art Museums. That's where special correspondent Jared Bowen of GBH Boston recently took a look for our arts and culture series, "CANVAS." PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

The 50-year-old Brandywine Workshop and Archives in Philadelphia draws in artists, both unknown and very well-known, to push boundaries by producing limited edition prints. It's also an opportunity to get their work into major museum collections like the Harvard Art Museums. That's where special correspondent Jared Bowen of GBH Boston recently took a look for our arts and culture series, "CANVAS." PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Concrete is full of contradictions. First it's dust, then liquid, then hard as stone. It's both rough and smooth, it's modern and ancient, it can preserve history or play a hand in destroying it. Unsurprisingly, concrete is all about the gray area. Hear about this material from its supporters and detractors alike: why it's so controversial, why it's so often used in memorials, and how Colombian artist Doris Salcedo uses it to address grief and mourning. Guests: Nadine M. Orenstein, Drue Heinz Curator in Charge, Drawings and Prints, The Metropolitan Museum of Art Abraham Thomas, Daniel Brodsky Curator of Modern Architecture, Design, and Decorative Arts, Modern and Contemporary Art, The Metropolitan Museum of Art Adrian Forty, professor of architectural history, University College London, and author of Concrete and Culture (2012) Marco Leona, David H. Koch Scientist in Charge, Scientific Research, The Metropolitan Museum of Art Iria Candela, Estrellita B. Brodsky Curator of Latin American Art, Modern and Contemporary Art, The Metropolitan Museum of Art Featured object: Doris Salcedo (Colombian, b. 1958), Untitled, 1997–99. Wood, concrete, and steel, 32 x 15 1/4 x 16 1/2 in. (81.3 x 38.7 x 41.9 cm). The Metropolitan Museum of Art, New York, Purchase, Lila Acheson Wallace Gift and Latin American Art Initiative Gift, 2020 (2020.25) For a transcript of this episode and more information, visit metmuseum.org/immaterial #MetImmaterial Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise and hosted by Camile Dungy. This episode was produced by Eleanor Kagan. Special thanks to Doris Salcedo, Laura Ubate, the San Francisco Museum of Modern Art, the Museum of Contemporary Art in Chicago, Harvard Art Museums, and the Nasher Sculpture Center.

Betcha never realized how deeply color colored your world - and the world - until you found yourself dancing down the diagonal of this showstopping print. This episode was produced in partnership with the Harvard Art Museums. The exhibition "Prints from the Brandywine Workshop and Archives: Creative Communities" is on view until July 31, 2022. Music used: The Andrews Sisters, "Bei Mir Bist Du Schoen" The Blue Dot Sessions, “Valley VX,” “Forgot His Jam,” “Dear Myrtle,” “Lakeside Path,” “Paramo Ocho,” “White Limit,” “Bivly” See the images: https://bit.ly/3MzWc47 Support the show: www.patreon.com/lonelypalette

Makeda Best, curator of photography at the Harvard Art Museums and a visiting professor of Art, Film, and Visual Studies, shares her insights on landscape photographers, as well as photographers of war and protest, capture their historical moments, and what their work says about cultural history and politics. Topics discussed include Best's research on Alexander Gardner, a Civil War photographer who was also active in the worker's rights movement, her current book project on American landscape photography, and Devour the Land, the current exhibit she curated at the Harvard Art Museums. For more information about Harvard Magazine and this podcast, visit www.harvardmagazine.com/podcast and follow us on Twitter, Facebook, and Instagram.For a transcript of this episode, go to https://harvardmagazine.com/2021/makeda-bestAsk a Harvard Professor is hosted by Lydialyle Gibson, Jonathan Shaw, Jacob Sweet, and Nancy Walecki, and produced by Jacob Sweet and Niko Yaitanes. Our theme music was composed by Louis Weeks.

Highlights from the conversation:Since it's a living organism, a brand can behave really well if it's managed well. But it can also misbehave. There's also no such thing as a perfect brandIn the industry, we hand out brand manuals and they're sometimes treated as the Bible that the in-house design team has to conform to, but I actually don't see style guide that way – I see style guide as parameters[On research] What I want to do is get down to the very bottom of it. What is this thing? What is this subject? What is this topic? And a lot of times these projects came to us as something that is so alien that we [asked] – are we really qualified to do this?The total body of the work doesn't have a singular style to it. But rather, we always design very contextually, very specifically. But within that specific context, we want to be as creative and as expressive as possibleI think that's a fascinating way of thinking about our craft. That part of it is creating the visual, but part of it is also convincing human beings to understand, to make the leap, or to communicateI think sometimes clients hold the designers at an arm's length. They don't necessarily let them into the building. They don't let them see the bad stuff or, you know, actually understand how things work More about Natasha Jen Natasha Jen is an award-winning designer, an educator, and a partner at Pentagram. Born in Taipei, Taiwan, she joined Pentagram's New York office in 2012. A four-time National Design Award nominee, Natasha's work is recognized for its innovative use of graphic, verbal, digital, and spatial interventions that challenge conventional notions of media and cultural contexts. Her work is immediately recognizable, encompassing brand identity systems, packaging, exhibition design, digital interfaces, signage and wayfinding systems, print and architecture. Her recent clients include high-profile tech companies and startups, such as Google, Waze, Magic Leap, Essential Products. Past clients include a wide range of collaborators from cultural and consumer segments, including Nike, Puma, Target, Ralph Lauren Home, Kate Spade, Chanel, Tata Harper, The Costume Institute at the Metropolitan Museum, Harvard Art Museums, Guggenheim Foundation, Fernando Romero Enterprise/FR-EE and OMA/Rem Koolhaas. Natasha he has earned awards from every major design competition and is frequently published in publications, including Wired, Fast Company, Kinfolk Magazine, Print Magazine, Creative Review, Metropolis, She was a winner of Art Directors Club's Young Guns 4 and also served as a judge for the competition in 2007, 2011, and 2017. In 2014, Wired Magazine named her as one of nine “Designers Who Matter.” She serves on the board of Storefront for Art and Architecture in New York. She also served as Board of Directors of the New York Chapter of the American Institute of Graphic Arts (AIGA) from 2014 to 2017. She is a faculty member at the School of Visual Arts BFA Graphic Design Program and is a guest critic at Harvard Graduate School of Design, Yale University School of Art, Cooper Union, Rhode Island School of Design, and the Maryland Institute College of Art.Find Natasha here: Website | LinkedIn | Instagram Show NotesCompanies and organisations:Calvin KleinDonna KaranMiscellaneous:Taipei, Taiwan How you can help:There are four ways you can help us out.Give us your thoughts. Rate the podcast and leave a comment.Share this as far and wide as you can - tell your friends, family and colleagues about us (caveat: if you own a family business, these may all be the same people)Tell us how we can create a better podcast - tell us what you liked, didn't like, or what you'd like to hear more (or less) ofTell us who you'd like to hear on the podcast. Suggest someone that you think we should interview.One More Question is a podcast by Nicework, a purpose-driven company helping people who want to make a dent in the world by building brands people give a shit about.One of the things we do best is ask our clients the right questions. This podcast came about because we want to share some of the best answers we have heard over the last 13 years. We talk to significant creators, experts and communicators we encounter and share useful insights, inspiration, and facts that make us stop and take note as we go about our work.Hosted by our founder Ross Drakes.Subscribe iTunes, Spotify, Stitcher, Google PodcastsMusic by: @dcuttermusic / http://www.davidcuttermusic.com

Episode No. 516 features art historian and author Mary Beard and artist Tabitha Soren. Beard's new book is Twelve Caesars: Images of Power from the Ancient World to the Modern. It details how for more than two millennia, portraits of the rich and powerful have been informed by portraits of Roman emperors (and often by portraits believed to be Roman emperors), and investigates how 12 murderous rulers came to be so prominent in the work of artists -- and in the minds of patrons -- ever after. The book descends from Beard's 2011 Mellon Lectures at the National Gallery of Art. Indiebound and Amazon offer the book for about $35. Material referenced on the program includes: Aegidius Sadeler II's prints after Titian's Eleven Caesars (which were destroyed by fire in 1734). Hall of the Emperors, Capitoline Museums, Rome. On the second segment, Tabitha Soren discusses her work on the occasion of "Surface Tension" at the Mills College Art Museum in Oakland, Calif. The exhibition features work from Soren's series of the same title, pictures of iPad screens made to reveal how we interact with digital screens in ways that join touch, art history and the present. The exhibition is on view through December 12. Concurrently, RVB Books has published a book of pictures from the series. It's also titled Surface Tension and includes an essay by Jia Tolentino. As of taping, it's available from RVB Books for 29€. Works from the series have previously been shown at museums such as the Davis Museum at Wellesley College and at Transformer Station in Cleveland. Soren's work is in the collections of many museums, including the J. Paul Getty Museum, the Harvard Art Museums, the New Orleans Museum of Art and the George Eastman Museum.

Like so many of us, Dr. Rachel Saunders had a tough 2020. As the curator of Asian art at the Harvard Art Museums, she was thrilled to co-curate, with professor Yukio Lippit, the exhibition "Painting Edo: Japanese Art from the Feinberg Collection," the largest single exhibition the museum had ever mounted. And then, a month after its opening, it was shuttered by Covid, and remained closed until the entire exhibition came down early last month. But what could have been a bitter disappointment actually became exceptionally educational - perhaps par for the course at a prestigious university art museum, but with far-reaching implications for museums everywhere. Because when we talk about accessibility - and inaccessibility - in this context, we start to think about it in every context. How accessible are museums, ever? How authentically cross-cultural are our conversations? How do art historians wrestle with and decide on narratives? And how do we honor the multiplicity of these objects' histories while still making them present, today? I sat down with Dr. Saunders this past May, the last month that the exhibition was up on the gallery walls but still behind locked doors, and we dove into these issues and more. See the images discussed: https://bit.ly/3kQbAii Music used: The Blue Dot Sessions, “One Little Triumph,” “Sage the Hunter” Tamar's exhibition review in the New York Review of Books: https://bit.ly/36X64Cg The Lonely Palette episode on Painting Edo: https://bit.ly/3iEFl2Q The HAM page on Painting Edo https://bit.ly/3zrYBY7 Support the show! www.patreon.com/lonelypalette

On our 10th episode of A Closer Look, we wrap up the season with a chat between hosts Tara and Michael about their jobs—Digital Content Manager and Administrative Coordinator for the Deputy Director's Office, respectively—and how they got them. On Season 1 of A Closer Look, we're exploring museum jobs: why we wanted them, how we got them, and what they're really like! Through a series of conversations with colleagues, hosts Tara Metal and Michael Ricca will seek to demystify the museum world, discuss some surprising career paths, and explore jobs you may never have considered. Music: "Baby Lemuel" © Blue Dot Sessions. Check out Harvard Art Museums from Home: https://harvardartmuseums.org/article/harvard-art-museums-from-home

On this episode of A Closer Look, we talk to the Harvard Art Museums' curator of modern and contemporary art, Mary Schneider Enriquez. Mary, whose exhibitions have included "Mark Rothko's Harvard Murals" and "Doris Salcedo: The Materiality of Mourning," discusses leaving grad school, living in Mexico, discovering a love of teaching, and the joys and challenges of curatorial work. On Season 1 of A Closer Look, we're exploring museum jobs: why we wanted them, how we got them, and what they're really like! Through a series of conversations with colleagues, hosts Tara Metal and Michael Ricca will seek to demystify the museum world, discuss some surprising career paths, and explore jobs you may never have considered. Music: "Baby Lemuel" © Blue Dot Sessions. Check out Harvard Art Museums from Home: https://harvardartmuseums.org/article/harvard-art-museums-from-home

The world is reopening just as Harvard's special exhibition "Painting Edo: Japanese Art from the Feinberg Collection" is permanently closing, having been open to the public for one heartbreakingly short month. But the exhibition, which documented the Edo period in all its diverse, aesthetic richness, doesn't have to be in front of you to describe its uncannily Buddhist and modernist moment, or to share in the strange lightness of ours. This episode was produced with support from Harvard Art Museums. See the images: http://www.thelonelypalette.com/episodes/2021/6/5/episode-53-painting-edo-post-pandemic Music used: The Blue Dot Sessions, “Noe Noe,” “A Certain Lightness,” “Algea Trio,” “Kilkerrin,” “Gullwing Sailor,” “Two Dollar Token,” “Silent Flock” Billie Holiday, “Blue Moon” Support the show: www.patreon.com/lonelypalette

On this episode of A Closer Look, we talk to the Harvard Art Museums' design manager, Zak Jensen. Zak talks about his background and early interest in design, what it means to create a visual identity for a museum, and recalls some favorite memories from his nine years at the museums, including a close encounter with architect Renzo Piano. On Season 1 of A Closer Look, we're exploring museum jobs: why we wanted them, how we got them, and what they're really like! Through a series of conversations with colleagues, hosts Tara Metal and Michael Ricca will seek to demystify the museum world, discuss some surprising career paths, and explore jobs you may never have considered. Music: "Baby Lemuel" © Blue Dot Sessions. Check out Harvard Art Museums from Home: https://harvardartmuseums.org/article/harvard-art-museums-from-home

In this week's episode, art historian Robert Wiesenberger joins hosts Catherine Nichols and Isaac Butler to discuss artist Jenny Holzer's "Truisms" from 1978, "Truisms" is a group of declarative sentences Holzer first put up anonymously on posters all over New York City: "Labor is a life-destroying activity.," "Lack of charisma can be fatal," "Private property created crime." The work originated in a period when Holzer was frustrated with painting and turned to language as a more direct means of expression. "Language is a good way to convey meaning," as Holzer put it. Robert Wiesenberger is the associate curator of Contemporary Projects at the Clark Art Institute and co-author of Muriel Cooper (MIT Press 2017). He has also contributed catalog essays for the Harvard Art Museums and the Walker Art Center, and is a contributing editor to Art Papers magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices

Erik Lindahl's road to the exhibitions team at the Harvard Art Museum included work as an artist, a studio assistant, a scenic carpenter, and a lead preparator at the Oriental Institute Museum in Chicago. In this episode of A Closer Look, we talk to Erik about learning on the job, working in post-war Afghanistan, and why loving art is critical to succeeding in his field. On Season 1 of A Closer Look, we’re exploring museum jobs: why we wanted them, how we got them, and what they’re really like! Through a series of conversations with colleagues, hosts Tara Metal and Michael Ricca will seek to demystify the museum world, discuss some surprising career paths, and explore jobs you may never have considered. Music: "Baby Lemuel" © Blue Dot Sessions. Check out Harvard Art Museums from Home: https://harvardartmuseums.org/article/harvard-art-museums-from-home

In this episode of A Closer Look, we talk to Karen Gausch, who works in our department of Collections Management as the Manager of Exhibition Production and Collections Care. Karen charts her fascinating career from installing art around New York City, to mount-making at the Museum of Fine Arts, Boston, to managing a massive building move and making exhibitions come to life at the Harvard Art Museums.

This episode is the first in a series dedicated to talking about teaching art while still having some personal success as an artist. Everyone in this series will be asked Who were your teachers or mentors How do you balance teaching and making Who do you see getting hired today as teachers Where does art rank in importance in your school Who are the students that you serve What's your favorite teaching assignment Give us a pro-tip for teaching or photographing Endia Beal is a North Carolina based artist, curator, and author. Beal's work merges fine arts with social justice. She uses photography and video to reveal the often overlooked and unappreciated experiences unique to people of color. Specifically, Beal's first monograph, Performance Review, brings together work over a 10-year period that highlights the realities and challenges for women of color in the corporate workplace. She lectures about these experiences, which also addresses bias in corporate hiring practices. https://endiabeal.com This episode is sponsored by the Charcoal Book Club - https://charcoalbookclub.com Beal is featured in several online editorials including The New York Times, NBC, BET, Huffington Post, and National Geographic; she also appeared in TIME Magazine, VICE Magazine, Essence, Marie Claire and Newsweek. Her work has been exhibited in several institutions including the Nasher Museum of Art at Duke University in Durham, NC; The Charles H. Wright Museum of African American History in Detroit, MI, and Aperture Foundation in New York, NY. Beal's photographs are in private and public collections, such as The Studio Museum in Harlem in New York, NY, Museum of Contemporary Photography at Columbia College Chicago in Chicago, IL, and Portland State University in Portland, OR. She is a fellow of the Center for Curatorial Leadership and completed residencies at Harvard Art Museums, the Center for Photography at Woodstock and McColl Center for Art + Innovation. Beal received grants from the Magnum Foundation and the Open Society Foundation, among others. Endia holds a dual BFA-AH in art history and studio art from the University of North Carolina at Chapel Hill and an MFA from Yale University; she has also completed the certification from the Executive Education in Fostering Inclusion and Diversity Program at Yale School of Management.

In this episode of A Closer Look, we talk to Angela Chang, who is the head of our object lab, an objects conservator, and the assistant director of the Straus Center for Conservation and Technical Studies. Angela, who has worked at the Harvard Art Museums for eighteen years, discusses her training and experience, including working on the team that conserved and restored the famed murals by John Singer Sargent at the Boston Public Library. Interested in becoming an art conservator? This episode is for you!

Nilton Barbosa shares his experiences on leading a security team at the Harvard Art Museums. On Season 1 of A Closer Look, we’re exploring museum jobs: why we wanted them, how we got them, and what they’re really like! Through a series of conversations with colleagues, hosts Tara Metal and Michael Ricca will seek to demystify the museum world, discuss some surprising career paths, and explore jobs you may never have considered. Music: "Baby Lemuel" © Blue Dot Sessions.

 On this episode of Out of Office: A Travel Podcast, Kiernan takes us back to Massachusetts for the second installment of the Great Boston Trilogy. With the big blockbuster attractions behind us, Kiernan covers his personal favorite parks, museums, and universities. Warning: he does mention Harvard excessively. Things we talked about in today’s podcast: Emerald Necklace Conservancy https://www.emeraldnecklace.org/  Franklin Park Zoo Remains https://www.onlyinyourstate.com/massachusetts/abandoned-zoo-ma/  Minuteman National Park https://www.nps.gov/mima/index.htm Minuteman Poster by Paul Rand https://americanart.si.edu/artwork/minute-man-35737  Arnold Arboretum https://arboretum.harvard.edu/  JFK Presidential Library Coconut https://www.jfklibrary.org/asset-viewer/coconut-bearing-rescue-message-mo-634852   New England Aquarium https://www.neaq.org/  Museum of Science https://www.mos.org/  “The Alchemist” at MIT https://listart.mit.edu/public-art-map/alchemist  MIT Great Dome http://museum.mit.edu/150/70  MIT Campus Map https://whereis.mit.edu/  Sol LeWitt at MIT https://listart.mit.edu/public-art-map/bars-color-within-squares-mit  MIT Museum https://mitmuseum.mit.edu/  3 Lies on John Harvard https://blog.dce.harvard.edu/summer/3-lies-harvard  Harvard Art Museums https://harvardartmuseums.org/  Rothko at Harvard https://www.newyorker.com/culture/cultural-comment/watching-them-turn-off-the-rothkos   Harvard Natural History Museum Glass Flowers https://hmnh.harvard.edu/glass-flowers  Northlandz Trainset https://northlandz.com/  New River Gorge National Park https://www.nytimes.com/2021/02/16/travel/national-park-new-river-gorge.html 

Meet archivist, Michelle Interrante, from the Harvard Art Museums as she shares insights on her role. On Season 1 of A Closer Look, we’re exploring museum jobs: why we wanted them, how we got them, and what they’re really like! Through a series of conversations with colleagues, hosts Tara Metal and Michael Ricca will seek to demystify the museum world, discuss some surprising career paths, and explore jobs you may never have considered. Music: "Baby Lemuel" © Blue Dot Sessions.

She is a Brazilian-born educator and artist with extensive work experience and knowledge in theater, music, arts and literacy, and cross-cultural engagement. On the Suncoast, Maria Schaedler-Luera has served as the Manager for Arts Integration for Any Given Child Sarasota at Sarasota County Schools and serves as a drama teaching artist for the Van Wezel Performing Arts Hall. Her company, Atomica Arts, has a simple mission: To explore the building blocks of extraordinary.She studied with theater director Augusto Boal and has taught classes and workshops that focus on Theatre of the Oppressed techniques for the American Repertory Theater, Harvard Extension School, Lesley University, and several other non-profits in Boston and Sarasota. She worked at the Harvard Art Museums developing, coordinating, and teaching gallery classes to immigrants in English, Portuguese and Spanish and at the Community Art Center in Cambridge, MA leading the Community Programs and Public Art Initiatives.Take a listen to her life's work, journey, and passion. You will be a better human for it.Come along and Join the club!• Maria Schaedler-Luera Website & Facebook & Instagram• Any Given Child Sarasota Website & Facebook• Augusto Boal Theatre of the Oppressed Website• State College of Florida Theatre Program Website & Facebook & Instagram• The Gallery at SCF Facebook & Instagram• State College of Florida Website & Facebook & Instagram & YouTube• State College of Florida Foundation Website & Facebook & Instagram & LinkedInSupport the show (https://scf-foundation.org/suncoastcultureclub/)

We interrupt this Winter hiatus for an important announcement…We've got a new name! Apparently “It's Just A Phase” was…well, just a phase, but we're still the same cyclical, intuitive, witchy show you know and love. While we're here we wanted to also give a quick update on what Kristen and Janine have been up to over the past month or so. Tune in for a quick check-in!We miss you and we'll be back soon. xoxoMentioned in this episode:Kristen's upcoming workshop- Cycle Magic: Harnessing Your Period Power for More Creativity and FlowSuperpower Your Natural Cycle - Good Witch KitchenJanine's new Feel Good Retail PodcastThe Annual Advisory - Feel Good RetailFREE GUIDE: Soul Statement - Feel Good Retail‘An Atlas Of Rare and Familiar Color' - The Harvard Art Museums' Forbes Pigment CollectionYour hosts:Kristen Ciccolini | Good Witch Kitchen | @goodwitchkitchenJanine Mulone | Feel Good Retail | @feelgoodretailKeep in touch!Website: selfcareforcycles.comInstagram: @selfcareforcyclesTwitter: @selfcare4cyclesSubscribe:iTunes | Spotify | Google | Stitcher or wherever you get your podcasts. And don't forget to leave a review! It lets us know you're listening and it helps other amazing people like you find our show.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer / filmmaker, Gillian Laub, talk about the patience needed to let a certain type of project take shape.  Gillian discusses her HBO Documentary, Southern Rites, and explains why still photography alone was not enough to tell that story, and she reveals the importance of trusting her editor in the book making process and making hard cuts to beloved images. This is an incredibly warm and cozy talk between two old friends who share lots of thoughts and feelings with one another and, of course,  the listeners.  http://www.gillianlaub.com http://www.southernritesproject.com Gillian Laub (b.1975, Chappaqua, New York) is a photographer and filmmaker based in New York. She graduated from the University of Wisconsin-Madison with a degree in comparative literature before studying photography at the International Center of Photography, where her love of visual storytelling and family narratives began. Laub spent over a decade working in Georgia exploring issues of lingering racism in the American South. This work became Laub’s first feature length, directed and produced, documentary film, Southern Rites that premiered on HBO.  Her monograph, Southern Rites (Damiani, 2015) and travelling exhibition by the same title came out in conjunction with the film and are being used for an educational outreach campaign, in schools and institutions across the country. Southern Rites was named one of the best photo books by TIME, Smithsonian, Vogue, LensCulture, and American Photo. It was also nominated for a Lucie award and Humanitas award. Laub recently recieved the Distinguished Alumni Award from the University of Wisconsin-Madison and was honored as a NYSCA/NYFA Photography Fellow in 2019. Laub has been interviewed on NPR, CNN, MSNBC, Good Morning America, Times Talks and numerous others.  Laub contributes to many publications including TIME , The New York Times Magazine and Vanity Fair. Laub’s work has been widely collected and exhibited, and is included in the collects of the Harvard Art Museums, Cambridge MA; Museum of Fine Arts, Houston; Terrana Collection, Boston; Jewish Museum. New York; Rose Art Museum, Brandeis University; Brooklyn Museum, New York; Corcoran Gallery of Art, Washington DC (now American University Museum Collection in Washington, DC), and a wide range of corporate and private collections.

An edited archived video of Art Brunch S1E6 with artist Marissa Dembkoski. Art Brunch streams live Sundays from 10-1ct on twitch Follow us on Twitch to never miss live art content ► www.twitch.tv/thetravelagency Video Version ► https://youtube.com/channel/UCjR8GINuvF8ILQOogwqJibA » See pretty pictures on ig: instagram.com/thetravelagency Timestamps: About The Travel Agency: The Travel Agency is a digitally native platform that hosts contemporary art making, produces art-centered entertainment, and will be providing digital residencies for emerging artists. The goal of Art Brunch is to broaden public interest and support for the arts, provide digital tools and expertise to emerging artists, and present contemporary art in a casual and accessible manner. Marissa’s Bio: Marissa Dembkoski is an artist, art museum administrator, and (recently) quarantine fundraising DJ. She earned her BFA from Lesley University in Photography and Art History in 2017 and completed a collaborative thesis with partner Paal Williams. Their artist collaborative pwmd creates work that intertwines artistic tensions from the history of photography and contemporary modes of photographic production to question the constructs of visual culture. They have exhibited four solo exhibitions, participated in the first triennial exhibition in St. Louis, Counterpublic 2019, and curated exhibition Pixel at the Granite City Art and Design District. Marissa has worked in communications and development roles at non-profits for the past six years, including Harvard Art Museums and the Saint Louis Art Museum. During quarantine, she pursued her random desire to learn the basics of DJing, which has resulted in creating a recurring virtual dance party fundraiser series called Boogie Knights of Quarantine with collaborator Ally Campbell. Known professionally as DJ MixRiss, she is notoriously known for exclusively using SoundCloud remixes and nostalgic early 00's suburban electronic hits. Boogie Knights are held monthly to fundraise money for important causes, past donations have gone to the Okra Project and the ACLU. Social: Personal insta: @marissadembkoski Boogie knights insta: @boogieknightsofquar pwmd: pwmd.biz #contemporaryart #artnow #liveart

Two museumgoers encounter two Rothko paintings and discover the mystery of each other at the Harvard Art Museums on January 22, 2022. Directed by Rebecca Bradshaw, featuring actors Diego Arciniegas and Marianna Bassham.

In this lecture, Dr Stephen Gilchrist considers two major exhibitions as key examples of Indigenous curation that encode Indigenous philosophies of critical care and value — 'Aratjara: Art of the First Australians' 1993 at Kunstsammlung Nordrhein-Westfalen, Dusseldorf; and 'fluent: Emily Kame Kngwarreye, Yvonne Koolmatrie, Judy Watson' at the Australian Pavilion, Venice Biennale in 1997. Part of ACCA's lecture series 'Defining Moments: Australian Exhibition Histories 1968–1999'. ABOUT THE SPEAKER: Dr Stephen Gilchrist belongs to the Yamatji people of the Inggarda language group of northwest Western Australia, and is Lecturer of Indigenous Art at the University of Sydney. He is a writer and curator who has worked with the Indigenous Australian collections of the National Gallery of Australia, Canberra (2003–05); the British Museum, London (2008); the National Gallery of Victoria, Melbourne (2005–10); and the Hood Museum of Art, Dartmouth College (2011–13). He was also the Australian Studies Visiting Curator at the Harvard Art Museums, Harvard University (2012–16). Gilchrist has curated numerous exhibitions in Australia and the United States and has written extensively on Indigenous Art from Australia. THANK YOU TO OUR PARTNERS: ACCA's lecture series 'Defining Moments: Australian Exhibition Histories 1968–1999' is presented in association with Abercrombie & Kent and Research Partner, Centre of Visual Art (CoVA) at The University of Melbourne and supported by Art Guide Australia, The Saturday Paper, Triple R, The Melbourne Gin Company, Capi and the City of Melbourne. This lecture video was produced by Gatherer Media: www.gatherer.media Further information: https://acca.melbourne/series/defining-moments/

Artist Vernon Ah Kee recites the text to his work "many lies" (2004) at the opening of the exhibition "Everywhen: The Eternal Present in Indigenous Art from Australia," on display February 5 through September 18, 2016 at the Harvard Art Museums. Recorded February 4, 2016 by R. Leopoldina Torres with permission of the artist. Copyright President & Fellows of Harvard College.

A recent panel discussion at the Mittal Institute, “Rethinking the Museum Experience During and Post-COVID-19" — moderated by Jinah Kim, Professor of History of Art and Architecture at Harvard University — explores how art institutions can remain nimble enough to respond to uncertainties, such as COVID-19, adapting their approach to tackle similar situations in the future. How can art institutions engage their patrons as partners in the sustainability of museums? Martha Tedeschi, Director of the Harvard Art Museums, and Naman Ahuja, Professor of Indian Art and Architecture and Dean of the School of Arts and Aesthetics at Jawaharlal Nehru University, join Professor Kim to delve into the changes that have taken place at museums during COVID-19. Together, they explore the need for more virtual accessibility of museum exhibitions, and the critical importance of partnerships between academic institutions and museums to establish centers for research and teaching.

What do James Brown's album Sex Machine and the Renaissance sculptor Donatello have to do with protecting the art of our time? Find out in this wide-ranging conversation with Carol Mancusi-Ungaro, the Melva Bucksbaum Associate Director for Conservation and Research at the Whitney Museum of American Art, and for over a decade the Founding Director of the Center for the Technical Study of Modern Art at the Harvard Art Museums. For nineteen years she served as Chief Conservator of The Menil Collection in Houston, Texas, where she founded the Artists Documentation Program, consisting of interviews with artists about the technical nature of their art. The consummate artist whisperer, she has pioneered new forms of conservation treatment, is an influential mentor for the field, and presides over the care of a globally renowned collection of modern and contemporary art.

Shiva Mihan, Harvard Art Museums and Bahari Visiting Fellow at the Bodleian Libraries, gives a talk on her work in Persian arts. Manuscripts produced in the 15th century under Timurid patrons are among the most exquisite examples of Persian arts of the book. Codices containing sumptuous illuminations and lavish illustrations attracted the mutilating attention of album-makers and art dealers in the 19th and early 20th century. This paper provides evidence of such practices in a unique treasure from Prince Baysunghur's library: the Rasayil copied in Herat in 830/1427. This presentation will share the result of an in-depth codicological analysis of the manuscript (known as the Berenson Anthology) and the textual study of its rare and unique treatises, along with research into other collections and archives, and finally bring together some of the missing pieces and provide a digital reconstruction of the original manuscript. This talk will be followed by a drinks reception in Blackwell Hall. Presented by the Oxford Bibliographical Society and The Bodleian Library Centre for the Study of the Book.