 |  | Our recently renovated East Asian gallery features two new installations, both part of our ReFrame initiative. The first presents works on paper, ceramics, jewelry, and textiles that highlight the struggles and achievements of women in China and beyond. The second features a group of Japanese paintings previously shown in the 2020 Painting Edo exhibition alongside other works from the Feinberg Collection, showcasing all the major early modern painting formats and the creative “frames” through which we encounter them today.
Remember, the Harvard Art Museums are free to everyone on Sundays, and reservations are required for all visits. Once you’re here, tell us what you think on social channels using #HarvardArtMuseums. |
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 | If you haven’t yet seen the States of Play exhibition, make your plans today—the show closes on January 2! States retraces the creative steps taken by artists such as Pablo Picasso, Rembrandt, Lee Krasner, Louis Delsarte, and more in the printmaking process. Also, check out the videos connected to this exhibition, including the wildly popular artist demonstrations. |
 | Described as “brilliant” by The Washington Post, the special exhibition Devour the Land: War and American Landscape Photography since 1970does not shy away from spotlighting the impact of militarism on the natural landscape and our built environments. It also illustrates how activism can make a difference and shows how the land can sometimes respond in surprisingly regenerative ways. The exhibition closes on January 16. |
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 | Get a behind-the-scenes peek at a Greek amphora, a type of storage jar used in everyday life in ancient Greece. We’ll take a close look at the imagery on this amphora, which tells a story of animal sacrifice to prove a devotion to Athens. |
 | On Tuesday, December 14, explore the pioneering work of artist Gego and her place within the burgeoning Venezuelan art scene in the mid-20th century. This online event is free and open to everyone. |
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 | “I wanted to show how [the damage to the environment] was affecting people, how it was affecting their lives,” says photographer Sharon Stewart in the latest Devour the Landartist interview, conducted by curator Makeda Best. She recounts her work on the ground, such as the “Toxic Tour of Texas,” and how her business background helped her understand the motivations behind a destructive pursuit of profit and focus on the bottom line. |
 | Printmaker Sarah Lund brings female artist Émira Sergent Marceau to life in this narrative about how, despite political limitations placed on women at the time, Marceau created art in the midst of revolution. |
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On Saturday, December 11, hosted by the CASE Art Fund, curator Makeda Best will be in conversation with artist Gideon Mendel. Check it out online!
In conjunction with the BLUE 2021 exhibition at the Cambridge Art Association, Straus Center conservation coordinator Alison Cariens will draw on her experience with the Forbes Pigment Collection in a December 15 talk on Zoom. |
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Images: (header) Anonymous artist, or Follower of Leng Mei,Beautiful Woman in Her Boudoir(detail), China, Qing dynasty, mid- to late 18th century. Hanging scroll; ink and color on silk. Harvard Art Museums/Arthur M. Sackler Museum, Oriental Objects Fund, 1968.40. Final Weeks: Lucas Foglia, American, New Crop Varieties for Extreme Weather, Geneva Greenhouses, New York State Agricultural Experiment Station, New York,2013. Archival pigment print. Harvard Art Museums/Fogg Museum, Richard and Ronay Menschel Fund for the Acquisition of Photographs, 2019.312. © Lucas Foglia; image courtesy of the artist.
Devour the Land is made possible in part by the generosity of the Terra Foundation for American Art and The Andy Warhol Foundation for the Visual Arts. Additional support for the project is provided by the Andrew W. Mellon Publication Fund and the Rosenblatt Fund for Postwar American Art. Related programming is supported by the M. Victor Leventritt Lecture Series Endowment Fund. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer, Jr., Fund for Modern and Contemporary Art.
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