Josep Lluis Sert Practitioner in the Arts

The Josep Lluis Sert Practitioner in the Arts, a position created in 1986, provides honoraria for visiting artists in all media to spend several days in formal and informal activities appropriate to the Department of Visual and Environmental Studies, including lectures, demonstrations, screenings, seminars, readings, performances, and close work with students of the department. The Sert Practioner is made possible by a gift from Robert Gardner, former director of the Carpenter Center for the Visual Arts, director of the Film Study Center, and chair of the Department of Visual and Environmental Studies.

HEALING WARS: Early Explorations
with Sert Practitioner Liz Lerman
November 14-20, 2011

With odd and urgent action occupying five floors of the Carpenter Center, this early stage of development is an investigation of the impact of war on medicine, as seen through the experiences and encounters of an American Civil War nurse and a contemporary military surgeon in Iraq.

The project translates from idea to body to idea again visceral inquiries into the life-or-death question of failure for soldiers and healers; how we anesthetize patients with ether, chloroform, opium, or hope; innovations in medicine during the crisis of war; reflections of the self and our view of history through our relationship to diseased, wounded, dying, and surviving warriors; and imagery of battlefield spirits gathering souls as they join the Daughters of Charity at Gettysburg. The media design includes old movies, animation, and graphics and a layered environmental soundscape.

Lerman is seeking fresh and wily solutions to the ongoing tension between abstraction and realism, emotion and ideas, information and feeling while continuing to develop a deeper palette of powerful movement. The project is assisted by clinicians, soldiers, medial historians, and doctors who want to talk and think and help make sense of these large events.

The stories are everywhere.

Lerman is a choreographer, performer, writer, educator, and speaker. Described by the Washington Post as “the source of an epochal revolution in the scope and purposes of dance art,” her dance/theater works have been seen throughout the United States and abroad. Her aesthetic approach spans the range from abstract to personal to political, while her working process emphasizes research, translation between artistic media, and intensive collaboration with dancers, communities, and thinkers from diverse disciplines. Liz was the recipient of a 2002 MacArthur “Genius Grant” Fellowship. Her work has been commissioned by Lincoln Center, American Dance Festival, BalletMet, the Kennedy Center, and Harvard Law School, among others. Her 2010 work, The Matter of Origins, examined the question of beginnings, from CERN’s LHC to Genesis, through dance, media and innovative formats for conversation. In 1976 Liz founded the Dance Exchange, a dance company whose members span six decades; recently she left the company to pursue new partnerships including teaching at Harvard University and working with Sadler’s Wells Theatre (London). Hiking the Horizontal: Field Notes from a Choreographer, her new collection of essays, was published in early 2011 by Wesleyan University Press. Born in Los Angeles and raised in Milwaukee, Liz attended Bennington College and Brandeis University, received her BA in dance from the University of Maryland, and an MA in dance from George Washington University.

with Sert Practitioner Liz Glynn
January 31–February 5, 2011

Los Angeles-based artist Liz Glynn created a site-specific work using the detritus from the Fogg Museum renovation to construct full-scale replicas of Le Corbusier’s iconic furniture. In this workshop, students participated in the fabrication of one of Le Corbusier’s chairs, while engaging in a series of experimental sculptural processes. The workshop included instruction on basic mold making and casting technique. Students worked alongside Glynn to conduct their own experiments with unconventional materials, and were encouraged to complete individual works during the class. Students took a field trip to visit the Harvard Art Museum site under construction. The chairs were on view in the exhibitions OBJECT LESSONS at the Carpenter Center from January 27-February 20, 2011.

Glynn received her MFA from California Institute of the Arts, and her BA from Harvard College. Her work has been exhibited at venues including the New Museum (NYC), the Los Angeles County Museum of Art, Machine Project (Los Angeles), Southern Exposure (San Francisco), and Arthouse at the Jones Center (Austin). In the summer of 2010, Glynn presented the first incarnation of III, a multi-site installation and event series exploring irrational fear and the financial crisis, produced by Redling Fine Art. Reviews of her work have appeared in the New York Times, New York Magazine, the Los Angeles Times, Art Lies, Domus, Archaeology Magazine, and among others. She has attended residencies at O’Artoteca in Milan, and the Atlantic Center for the Arts. She is represented by Redling Fine Art in Los Angeles and Anthony Greaney in Boston. Her work is on view in the exhibition SCULPTURE at Paula Cooper Gallery in New York from January 28-March 5, 2011.

ert Practitioner Damon Krukowski and students
Friday, February 26, 2010
CCVA Main Gallery, 6:00 pm

Do we only tell each other's stories? Ask others to tell our own? Can we tell our own? Or is that what stories are for -- to tell someone else's, and allow another to tell yours?

The culmination of a one-week workshop exploring the questions above with Damon Krukowski, 2010 Sert Practitioner in the Arts at Harvard. Students presented a series of stories they were either entrusted to tell, had entrusted someone else to tell, or both.

Krukowski studied at Harvard, concentrating in social studies and continuing on to graduate work in English and comparative literature, but left the academy when his first band, Galaxie 500, started touring extensively in the late 1980s. After the inevitable band break-up, he and his partner Naomi Yang began recording as a duo, Damon & Naomi, releasing five albums on Sub Pop Records (1992–2002) before founding their own label, 20/20/20. Krukowski and Yang are also book publishers, editor and designer respectively of Exact Change, a press based in Cambridge that specializes in writings associated with avant-garde art movements of the twentieth century such as pataphysics, Dada, and surrealism. Krukowski’s own writings include a collection of poems, 5000 Musical Terms (Burning Deck Press, 1995), and a book of prose poems, The Memory Theater Burned (Turtle Point Press, 2004). In addition to poetry, Krukowski often writes about music for ArtForum and other periodicals. “Damon regards language as prayer thought. His lines move with a strange speed of wonder yet with an ear towards new found sound. This is good music.”—Thurston Moore

directed and choreographed by Sert Practitioner Yvonne Rainer
March 30-April 3, 2009

Yvonne Rainer, 2009 Sert Practitioner in the Arts at the Carpenter Center, conducted a weeklong workshop with Harvard students across academic disciplines to develop a performance based on movement, shapes, and sound, which was presented at the Harvard Dance Center at 60 Garden Street.

An American choreographer and filmmaker whose work in both disciplines is frequently challenging and experimental, Rainer moved to New York In her early 20s and studied modern dance modern dance at the Martha Graham School and later with Merce Cunningham. She was one of the organizers of the Judson Dance Theater, a focal point for vanguard activity in the dance world throughout the 1960s. Rainer is noted for an approach to dance that treats the body more as the source of an infinite variety of movements than as the purveyor of emotion or drama. Many of the elements she employed—such as repetition, patterning, tasks, and games—later became standard features of modern dance. Rainer sometimes included filmed sequences in her dances, and in the mid-1970s she began to turn her attention to film directing. Her early films do not follow narrative conventions, instead combining reality and fiction, sound and visuals, to address social and political issues. Rainer directed several experimental films about dance and performance, including Lives of Performers (1972), Film About a Woman Who (1974), and Kristina Talking Pictures (1976). Her later films include The Man Who Envied Women (1985), Privilege (1990), and MURDER and murder (1996).

Special thanks to Elizabeth Bergmann, Marin Orlosky, Brent Sullivan, Office for the Arts and the Harvard Dance Center.

with Sert Practitioner Sharon Lockhar
March 6-7, 2008

A sound documentary project led by artist/filmmaker and Film Study Center-Radcliffe Fellow Sharon Lockhart, Sound Safari traveled to Bath, Maine for two nights and days of intensive audio fieldwork and onsite mixing, to create a documentation of the town.

As a visual artist, Lockhart works primarily in motion film and still photography. Her work often deals with the uneasy relationship between stillness and motion, truth and fiction. In particular, she is interested in the way these relationships become strained in documentary traditions. During her FSC-Radcliffe fellowship, Lockhart will complete a new film and photographic series titled Lunchbreak. Motivated by shifts in the world economy and its affect on American labor, inspired by iconic 20th century images of the blue-collar worker, Lunchbreak documents the vital social space of the communal meal. Lockhart received her MFA from Art Center College of Design in Pasadena in 1993. She was previously a Guggenheim Memorial Foundation Fellow and a Rockefeller Foundation Fellow. Her films and photographic work have been widely exhibited in international film festivals and at innumerable museums, cultural institutions and galleries around the world. She is currently an Associate Professor at the University of Southern California's Roski School of Fine Arts.

with Sert Practitioner Munro Ferguson
April 9–13, 2007

If a two-dimensional diagram can explicate a three-dimensional world, what are the conceptual possibilities of a moving 3-D diagram? Munro Ferguson introduced students to SANDDE™, a device for generating stereoscopic animated drawings. SANDDE™ is a new art form, somewhere between drawing and sculpture, a combination of specialized software and hardware for creating hand-drawn animation in three-dimensional space. Wearing polarizing eyeglasses, Ferguson draws in the air with a wand connected to a magnetic sensor, immediately producing a line in space visible to those wearing three-dimensional glasses. He has used this equipment to create films, abstract animation, and gallery installations. Ferguson's afternoons were spent working with VES classes as well as students and faculty across the University, discussing alternative applications of the technology.

Born in New York City in 1960, Ferguson took a very early interest in cartooning and made his first film, When I Get Older, at age 7. He studied painting and drawing at the Banff Centre and received a BA in philosophy from the University of Toronto. He continued to make films, becoming a core member of the Funnel Film Group in 1980. His science comic strip Eureka was syndicated in over 30 newspapers around the world. In 1994, he joined the NFB English Program's Animation Studio, where he wrote, directed and animated How Dinosaurs Learned to Fly (1995). In 1995, he began working for the legendary Roman Kroitor at IMAX Corporation, writing, animating and advising on the development of SANDDETM, a 3D stereoscopic animation technique. He returned to the NFB in 1998, and since then has been training other NFB animators in this innovative system. Ferguson has created two stereoscopic animations with SANDDETM: Falling in Love Again, winner of the 2004 Genie Award for Best Animated Short, and June, an elegy for his friend and mentor, artist Joyce June Wieland. In 2008 he was Animation Director for Facing Champlain a NFB production for the 400th anniversary of Quebec City. Currently, he is developing Neuropolis, a 3D film about the brain produced in collaboration with the Montreal Neurological Institute and the NFB.

with Sert Practitioner Victor Burgin

March 12–April 13, 2007
Sert Gallery

Victor Burgin's video work The Little House brings together a book and a building. The book is Jean-Franois de Bastide's libertine novella La Petite Maison, first published in Paris in 1758. The building is Rudolph Michael Schindler's Kings Road House, built in Los Angeles in 1922.

Burgin is an artist and a theorist of the still and moving image. He first came to prominence in the late 1960s as one of the originators of Conceptual Art. Initially working mainly in photography he turned to digital video when the technology became available in the early 1990s. Burgin is professor emeritus of history of consciousness at the University of California, Santa Cruz; and professor emeritus of fine art at Goldsmiths College, University of London. His academic books include The Remembered Film (2004), In/Different Spaces: place and memory in visual culture (1996), The End of Art Theory: criticism and postmodernity (1986), and Thinking Photography (1982). Monographs of his visual work include Voyage to Italy (2006), Relocating (2002), Victor Burgin (2001), Shadowed (2000), Some Cities (1986) and Between (1986). Burgin's photographic and video work is represented in the public collections of the Museum of Modern Art, New York; Corcoran Gallery, Washington DC; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; Walker Art Center, Minneapolis; Tate Gallery, London; Victoria and Albert Museum, London; and Centre Georges Pompidou, Paris. His most recent group of video and photographic works, commissioned by the Canadian Centre for Architecture, is currently on exhibition at the CCA, Montreal. His current projects include a major retrospective of his work in 2008 at the Bevilacqua La Masa Foundation of Venice and theÊMuseum for Contemporary Photography, Milan, which will be accompanied by a comprehensive book.

with Sert Practitioner Guyton/Walker
March 16–April 20, 2006

Students participate in the staging of the exhibiton EMPIRE STRIKES BACK at the Carpenter Center for the Visual Arts.

BFA University of Tennessee, Knoxville. Guyton\Walker has exhibited at Greene Naftali Gallery, New York and Midway Contemporary Art, Minneapolis. Currently Guyton\Walker is in the traveling exhibition Uncertain States of America, which premiered at the Astrup Fearnley Museet, Oslo. Exhibitions include a solo show at Galleria d'Arte Moderna, Bologna and Collection 2005/06 organized by Bob Nickas at Galerie Rodolphe Janssen, Brussels.


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