At a lunchtime talk at Harvard Law School, writer Gish Jen discussed her latest book, “The Girl at the Baggage Claim: Explaining the East-West Culture Gap,” making the case for the sociological and cultural patterns that influence many aspects of identity.
Terence Davies, director of the new Emily Dickinson biopic “A Quiet Passion” talks with The Gazette about his challenges in making movies, his artistic kinship with Dickinson, and what drew him to her deeply internal, isolated life.
American artist Winslow Homer’s evocative oil painting “Summer Night,” depicting a scene along the Maine coast, is on loan to the Harvard Art Museums from the Musée d’Orsay in Paris. The local museums’ director Martha Tedeschi, a Homer scholar, discussed the artist and his work.
Miguel Garcia ’17 found meaning and salvation in his humanities studies after a bout with mental illness forced him to take a sabbatical in his Junior year.
“Analogia I” by Victor Grippo is one of the Harvard Art Museums’ many works by artists who were redefining the global artistic landscape in the second half of the 20th century. The piece incorporates a series of potatoes connected to electrodes and a meter that registers the energy they produce.
Composer-pianist Nicholas Britell ’03 will celebrate with Harvard friends this weekend as his score for “Moonlight” competes for the Oscar for best original score.
María Luisa Parra teaches a course that caters to students of Latino heritage who spoke Spanish at home but never had formal instruction in the language.
Arab-American artist Helen Zughaib tells the story of the Middle East’s spate of revolutions with brightly colored paintings in her latest exhibit, “Arab Spring/Unfinished Journeys.”
Though he may be the favorite artist of oligarchs, Jeff Koons sees his art as democratic experience for viewers and a vehicle for his own transcendence and self-actualization.
A new exhibition at the Harvard Art Museums offers up a diverse sampling of the museums’ rich collection of drawings, while highlighting the creativity of Harvard’s classrooms.
The Harvard Museum of Natural History is taking on names — both common and scientific — together with companion institutions in a series of new installations that introduce the public to the color and complexity of appellations.