This painting, mostly in olive hues, depicts an African American soldier in uniform, with a window behind him.

Roundtable Conversation: WHERE ARE ALL THE BLACK PEOPLE AT, on Vernacular Photography

Last summer, photography curator Makeda Best met with people associated with the Boston-based grassroots arts initiative WHERE ARE ALL THE BLACK PEOPLE AT to discuss a painting of an unidentified Black soldier, visibility in the museums, and the impact of an installation of photographs depicting eve...

By Makeda Best

This full-length painting shows a standing female figure draped in a sheer robe that covers her from neck to ankle. In front of her feet is a checkered rug, on top of which lies a yellow flower. In the background is a cascade of white blossoms and a patterned curtain. The painting is surrounded by a gold frame with linear running-bead ornamentation.

Reframing Albert Moore’s Study for “Blossoms”: Historical Design, Contemporary Production

Read how a curatorial fellow and frame conservator teamed up to create a historically accurate reproduction of an unusual 19th-century frame.

By Allison Jackson, Sophie Lynford

Two side-by-side images each show a sculpture of a falcon wearing a crown. The sculpture is atop a small platform. The images face each other. The image at left is a black and white X-radiograph, which reveals internal elements of the sculpture. The image at right is a color photograph and shows the sculpture as brownish-green set against a neutral gray ground.

Introducing the Art + Science Pathway

Stories about what’s hidden within a selection of works—discovered through technical analysis—are now highlighted in the galleries.

By Sophie Lynford, Kate Smith

Hands are holding a cell phone that is displaying an image of the Harvard Art Museums' website homepage.

Harvard Art Museums from Home

Everything you need for a virtual visit to the museums—online events, audio and video offerings, activity books to download, and more.

This print shows a woman holding a child and seated on a chair in a living room with her family gathered around her.

Multi-layered: Louis Delsarte’s Color Separations

A conservation scientist and paper conservator explain how Louis Delsarte made his photolithograph Unity using color separations.

By Christina Taylor, Georgina Rayner

Two paintings appear next to each other in a gallery. On the left, positioned on a gray flat pillar in front of a gallery wall, is a multicolored abstract painting that shows a group of people surrounded by various patterns; on the right is an abstract painting hanging on the wall that depicts a close-up of a gathering of human-like shapes. Label text is to the right of the painting on the wall.

Building Community through Art

Francesca Bewer, from the Harvard Art Museums, and Erin Muirhead McCarty, from Community Art Center, discuss their collaboration on a youth program last summer in Cambridge.

By Andres Mendoza

A black and white lithograph portrays an adult male with shoulder-length hair and a goatee. The text at bottom left reads “No I disagree.”

Brandywine: Inspiring Collaboration and Community

Members of the team that developed the exhibition Prints from the Brandywine Workshop and Archives talk about the creative ways they worked together, inspired by the collaborative approach of the Brandywine Workshop.

By Hannah Chew

This print shows a three-quarter view of a Black person wearing a red jumpsuit. They carry a helmet, binoculars, and a contraption resembling a jetpack. They stand before a blue sky with white clouds. Six airplanes travel through the sky. Below the figure, bold red text reads in capital letters: “Enlist!/Homecoming Mothership Defense Squadron.”

Afrofuturist Visions: Robert Pruitt’s Enlist! Prints

Take a closer look at two lithographs by Pruitt that engage Afrofuturist themes and subvert the visual language of 1940s recruitment posters.

By Sophie Lynford

This assemblage of cut-outs of a black and white photograph shows a naked man with dark skin. The pieces are configured to create the image of a grotesque body. Most prominent are the sitter’s face, turned toward the viewer, and his hands, which appear to be resting on a balustrade.

Voices from the Collections: Photographer Wardell Milan in Conversation with Curator Makeda Best

Photographer Wardell Milan discusses his collage Bill T. Jones (2018) and his artistic process with curator Makeda Best.

In an art gallery, the left and right walls have built-in glass cases featuring various objects, such as decorative pieces and weapons. There is a pedestal in the middle of the room that has a large bronze vase in a glass case. Three words describing the materials represented in the gallery—

Getting Schooled by Kids: What We Learned in the Age of Remote Teaching

Three museum staff members who specialize in ancient art share the lessons they learned from teaching remotely.

By Jen Thum, Frances Gallart Marqués, Yan Yang