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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.

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 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.

This black and white photograph shows a door that opens into a brightly lit room where a Black man in a white t-shirt sits at a table. His shackled hands rest against his temple. He peers out past the camera.

Death Row: Without Glass

Driven by a deep-seated belief that capital punishment is morally wrong, Boston-based artist Lou Jones captured the humanity of death row inmates across the United States in his photographic portrait project.

By Francesca G. Bewer, in collaboration with Lou Jones

Three people gather around a painting in an oval frame. The painting shows three Black  females surrounded by yellow flowers.

Open Doors

Take a moment to look back with us as we celebrate our reopening in 2021.

These split screen images show, at left, a woman at a worktable wearing a black apron and holding a colorful abstract print, and at right, an image of three small prints, with a “plus” sign between two at the top and an equal sign above the one at the bottom.

Art Talk: Demonstrating Picasso’s Reduction Linocut Technique

Conservator and printmaker Christina Taylor demonstrates the reduction linocut printing technique pioneered by artist Pablo Picasso and master printer Hidalgo Arnéra.

A color print portrays a portrait bust of a light-skinned woman set in an oval frame. The woman wears a pink robe, white veil, and a gold jeweled crown as she turns her head to gaze out at the viewer. The background of the frame is black.

Carve, Reverse, Reflect: Émira Sergent Marceau’s Printmaking and the French Revolution

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.

By Sarah Lund

A color photograph shows a woman in a green bikini reclining on a wooden lounge chair on the beach. The image is cropped above her knees and at her nose so that only her lips and torso are visible. Her skin is an iridescent bronze tone. She is wearing a gold necklace around her neck and many gold bracelets on her wrists, as well as several rings on her fingers. Her right hand is wrapped around an aluminum can. A white beach towel lays crumpled on the ground next to her chair.

Connecting with Communities: Justice, Equity, and Inclusion

Read this final installment in our series of articles featuring Harvard Latinx students from María Luisa Parra-Velasco’s course Connecting with Communities reflecting on works in the Harvard Art Museums.

This installation shot shows part of a gallery with light gray walls and a brown wood floor. On the two visible walls hang eleven framed paintings. In the center of the floor stands a square-shaped wooden table; atop it are three porcelain objects within a vitrine.

Reflecting on Art Museums and the Legacies of the Dutch Slave Trade

How can museums—themselves so often enmeshed with histories of slavery, colonization, and white supremacy—be mobilized for racial justice?

By Sarah Mallory, Kéla Jackson, Rachel Burke, Joanna Sheers Seidenstein