Presented by: Ceramics Studio
 

From the Yugan, Jiangxi province, Bai Ming is a world-renowned Chinese ceramic artist, painter, writer and teacher. Join us in welcoming him to Boston for a demonstration of his process. This workshop coincides with Bai Ming's visit to the Boston area for his solo exhibition at the Lacoste Gallery in Concord, MA.

Free for Harvard Undergraduate students, $25 for Harvard Graduate students and adults enrolled in a course at the Ceramics Program, $50.00 for those not enrolled in a course. To register for this event, please download the registration form here (and below) or contact Kathy King, Director of Education at kking@fas.harvard.edu.

Related Events:

Bai Ming - SOLO
Lacoste Gallery
25 Main Street
Concord, MA

Exhibition Dates: November 11, 2017 - TBA
Opening Reception: Saturday, November 11, 2017, 3pm - 5pm

Biography:

From the Yugan, Jiangxi province, Bai Ming is a world-renowned Chinese ceramic artist, painter, writer and teacher. He graduated from Central Arts and Crafts College in 1994. He is a Lecturer at the Academy of Arts Design, Tsinghau University. He is a member of the China Artists Association (CAA), a member of the Oil Painting Society (COPS) and a member of the International Academy of Ceramics (IAC) of UNESCO. His the art majordomo of China Ceramic Art Net (www.artcn.net) and is an editor of the magazine, Chinese Ceramic Artists. He has received many awards, such as Gold Prize at the Boya Oil Painting Competition, 1993, Gold Prize at the Invitational Exhibition of China Young Ceramics Artists, 2000. He received a Contribution Award for Popularizaing China Contemporary Ceramics ARt, 2000. His works are featured in many international collections, museums and auctions. Bai Ming has published collections of his work and written twenty-one volumes in ten books.

Howardena Pindell who works with and through cutting in her work will give an Artist Talk at the Carpenter Center. 
Thu, Nov 9, 6 pm
Lecture Hall, Level 0, Carpenter Center

Cinema Before 1300

Over 800 years ago, a confluence of technological, philosophical and financial upswellings converged to create the most advanced form of mass media the world had known: stained glass.

Built en masse across France, Spain, England and Germany, great cathedrals were designed to display giant windows that told stories through light, color and form. Every day, thousands of viewers arrived to marvel at the glorious colors and hear stories recounted beneath their realization in light. Modern visitors to a cathedral would probably not suspect how many activities took place in the building during medieval times. It was truly a community center, and community members had the right to be there because they all took a great part in the construction of the building. Tonight’s program will take a look at the first 100 years (or so) of stained glass’ magnificent birth and culmination. It was during this fortuitous time frame that the most care, effort and expense were applied to the new art. By a sad irony, technological innovations making glass more uniform and the tasks of the craft easier destroyed visual interest and soon degenerated the art altogether.  

In our time, we have seen cinema rise and fall in a comparable period. Also, technological developments that have replaced film, to my eyes, have appreciably downgraded visual interest. I am still a filmmaker. I shoot film out of love for film. I am loyal to my loves. Not only to film, but to the light of the projector—and the soft, reflective light of the screen. This is hardly a match for the glorious starlight that flows through glass, but it echoes the reflected light of the moon, that first of all films and most beloved of all revivals.   

I also work in stained glass. Though, in recent years, I have put more of my efforts into filmmaking, I’ve found myself transferring physical techniques, such as painting and abrading, to my film work. But from my earliest film efforts over fifty years ago, I drew inspiration from the idea that my films were to be like stained glass glowing in a space of sacred darkness. I knew that both my film work and stained glass itself were based on a discontinuity given an illusory wholeness by the blessings of light. I will conclude the evening’s program with a short film of my own. – Jerome Hiler

 Julia Bryan-Wilson will present her new publication Fray: ART AND TEXTILE POLITICS, in conversation with Carrie Lambert-Beatty, Professor of Visual and Environmental Studies and History of Art and Architecture at Harvard University. 

Thu, Oct 12, 5 pm
Bookshop, Level 3, Carpenter Center

Contemporary artist Simon Starling will discuss his own practice, which stands at the intersection of art, science, and technology, in light of the range of objects, voices, and ideas that animated Harvard’s 18th-century Philosophy Chamber, the subject of this fall’s special exhibition, The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820.

Following his presentation, Starling will be joined in conversation by Ethan Lasser, head of the Division of European and American Art and the Theodore E. Stebbins Jr. Curator of American Art, and Jennifer L. Roberts, the Elizabeth Cary Agassiz Professor of the Humanities at Harvard University.

Simon Starling was born in 1967 in Epsom, United Kingdom, and graduated from the Glasgow School of Art. He was professor of fine arts at the Städelschule in Frankfurt between 2003 and 2013. He won the Turner Prize in 2005 and was shortlisted for the Hugo Boss Prize in 2004. He represented Scotland at the Venice Biennial in 2003 and has exhibited widely with solo exhibitions at Mass MOCA, North Adams, Massachusetts; The Power Plant, Toronto; Musée d’art contemporain du Val de Marne, Vitry-sur-Seine, France; Temporäre Kunsthalle, Berlin; Hiroshima City Museum of Contemporary Art, Hiroshima; Tate Britain, London; Staatsgalerie Stuttgart; MUMA, Melbourne, Australia; Casa Luis Barragán and Museo Experimental El Eco, Mexico City; and Museum of Contemporary Art, Chicago, among others. The artist currently lives in Copenhagen.

The museums will remain open until 9pm. The lecture will take place from 6 to 7:30pm in Menschel Hall, Lower Level. Lecture attendees are invited to return to the galleries after the discussion, as well as to enjoy a reception in the Calderwood Courtyard.

Free admission, but tickets are required. Tickets will be distributed on the Lower Level beginning at 5pm. One ticket per person. Seating will begin at 5:30pm. After capacity is reached, additional seating in nearby Deknatel Hall will be available to view the lecture via simulcast.

Complimentary parking available in the Broadway Garage, 7 Felton Street, Cambridge.

Support for the lecture is provided by the M. Victor Leventritt Fund, which was established through the generosity of the wife, children, and friends of the late M. Victor Leventritt, Harvard Class of 1935. The purpose of the fund is to present outstanding scholars of the history and theory of art to the Harvard and Greater Boston communities.

Major support for the exhibition has been provided by the Terra Foundation for American Art and the Henry Luce Foundation.

The exhibition and catalogue were also supported in part by the following endowed funds: the Bolton Fund for American Art, Gift of the Payne Fund; the Henry Luce Foundation Fund for the American Art Department; the William Amory Fund; and the Andrew W. Mellon Publication Funds, including the Henry P. McIlhenny Fund.

Conceptual artist Simon Starling will give today’s gallery talk. The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820 is on view through December 31, 2017.

Free with museums admission. This talk is limited to 15 people and tickets are required. Ten minutes before the talk, tickets will become available at the admissions desk. 

Please meet in the Calderwood Courtyard, in front of the digital screens between the shop and the admissions desk. Museums staff will be on hand to collect tickets.

Gallery talks are offered by curators, conservators, fellows, and other museums staff; they focus on aspects of the installation process, exploring both intellectual and more practical considerations. Museums staff will, for example, tease out arguments at play in the galleries, discuss conservation treatments, look closely at specific collections, or draw connections between works of art throughout the museums.