As the Elizabeth Cary Agassiz Professor of the Humanities at Harvard University, Roberts has particular interests in print history, in theories of making and materials, and in the intersection of art history with the history and philosophy of science. Her current book project, titled The Matrix: Print and Modern Making, explores the physical and philosophical fecundity of printmaking processes.
Ethan is Head of the Division of European and American Art, and Theodore E. Stebbins, Jr., Curator of American Art at the Harvard Art Museums. A specialist in early America, Lasser is committed to interpreting American art in an international context, asking new questions about artisanal knowledge and practice, and investigating the history of collecting and museums.
As the Director of the Learning Lab Harvard University's Bok Center for Teaching and Learning, Marlon works with faculty and students to develop and practice multimodal communication and creation. He partners with faculty to build pilots and prototypes that explore how new modes of communication (media) might occasion new learning experiences and new ideas.
Glenn is a curator, writer and historian based in Brooklyn, who works across the fields of design, craft and contemporary art. Currently, he is about to publish Fewer, Better Things (2018), a history of how raw materials, tools, design, and technique come together to produce beauty and utility in handmade or manufactured items.
Steven is a visual artist and an MFA Film and Media Art candidate at Emerson College. Steven’s work is in search of visual ways to deconstruct toxic masculinity and looks to showcase marginalized voices through a medium not always accessible to people of color.
Erin is a graduate of Emerson College where she majored in Film Production. While her time spent in the field has mostly focused on producing, recently she has developed a passion for editing, mainly for montages and short form pieces.
Jennifer Chuong is a doctoral candidate in the History of Art and Architecture at Harvard University, where she specializes in the art and built environment of the Atlantic world across the eighteenth and nineteenth centuries. Her dissertation, “Surface Experiments in Early America,” recovers the artistic, scientific, and philosophical fascination with surfaces as sites of physical transformation in the eighteenth-century transatlantic world.
Garnier is a PhD student in History of Art and Architecture at Harvard studying nineteenth-century transatlantic and pan-american art from the perspective of the United States. She is particularly interested in the intersection of industrial and fine art processes, bringing together fusions of space, media, and identity.
Goldring is a PhD student in History of Art and Architecture at Harvard University studying eighteenth- and nineteenth-century European Art, with particular interests in the manners in which histories of science and modern analytical techniques can inform art historical scholarship. Previously supported as a Fulbright Scholar, her current research focuses on the the intersection of scientific and aesthetic theories in the nineteenth-century stained glass revival in France.
Mirseyedi is a PhD candidate in the Department of History of Art and Architecture at Harvard University. Her dissertation project considers how the invention of new mechanical and photo-mechanical print processes in late-nineteenth century France provided a model for the restructuring and reorganization of artistic labor across various fields of practice, including avant-garde painting.
Yermakova is pursuing a PhD in History of Science alongside a secondary PhD in Critical Media Practice at Harvard. She is interested in subversive mathematical practices of early 20th century Russian Empire, spanning works of mathematicians, scientists, poets and musicians. Via experimental performance, improvising and composing with several branches of contemporary science, Yermakova's project is to find meaningful practice-based relations between contemporary art-science and these century-old multi-disciplinary methodologists.
Copleand is the owner and master sawyer of Copeland and Sons Lumber Co., LLP in Marshfield, MA. The sawmill was opened in 1938 by Copeland's father Kenneth Copeland, after the infamous hurricane of that same year. Copeland and his brother, Arthur, continue his father's tradition by specializing in post and beam cuts, as well as special orders for restoration projects in the area.
Knipe studies and preserves the Harvard Art Museums' sizable collection of works of art on paper and photographs. For two years, Knipe served as chair of the Book and Paper Group of the American Institute for Conservation of Historic and Artistic Works. For Knipe, process is history.
More to come!
As a visiting Post-Doctoral fellow at Harvard University’s department of History of Art and Architecture, Mayer studies developments in uses of sketchbooks as artistic tools in 18th-19th century French art. Trained as a visual artist, her current book project, emanating from her dissertation (University of Chicago, 2017) is on the materiality of Jacques-Louis David’s drawing procedures.
As the founder of Radlab in 2008, Trimble has a diverse range of experience working, consulting, and teaching in the field of architecture. Trimble holds a Masters of Architecture degree from MIT and is currently Assistant Professor of Architecture at the American University of Sharjah. In 2017, Trimble explained how cutting informed Radlab's Clefs Moire project.
Dr. Schindler is the director of the Eastern Shore Food Lab and an Associate Professor of Anthropology and Archaeology at Washington College in Chestertown, Maryland. As both an experimental archaeologist and primitive technologist, his research and teaching, revolve around a comprehensive understanding of prehistoric technologies. Bill is a strong advocate of traditional foodways and is constantly seeking new ways to incorporate lessons learned from his research into the diets of modern humans.
Walker is the Lead Butcher for Savenor's Market in Cambridge, MA. His interest for the art of butchering stems from his long history with cooking as a chef, which he continues to practice as the owner of his own catering business and as a Culinary Instructor at Newbury College. The knife for Walker is not just a tool for cutting meat, but a guide, that when paired with knowledge of tissue structures, can inform how we experience food.
Bewer is research curator for conservation and technical studies programs at the Harvard Art Museums. An expert in the technical study of bronzes and on the history of conservation, in addition to research, she heads the Materials Lab, directs the Summer Institute for Technical Studies in Art, develops conservation-related interpretative materials in the museums, and teaches.
Layla is the Kristin and Roger Servison Assistant Curator of Paintings in the Arts of the Americas department at the Museum of Fine Arts, Boston. She is co-curator of the forthcoming exhibition, Collecting Stories: Native American Art, which partly explores the transmission of indigenous knowledge through process. Her ongoing dissertation on art related to the U.S.-Mexican War reveals in the slippery geographies associated with lithographed maps and painted Comanche Indian shields.
Grounded thoroughly in painting, Saunders' work makes porous and provocative relationships with other forms, especially photography, printmaking and installations of animated films. Matt is currently an assistant professor in the Visual and Environmental Studies program at Harvard University.
Sigel is Senior Conservator of Objects and Sculpture at the Harvard Art Museum's Straus Center for Conservation. Growing up as a woodworker and model maker, he began working in industrial design before studying the materials and techniques of painting and sculpture at the Art Institute of Chicago. As a conservator, he works on objects from ancient to born-digital. His varied career has required some exposure to, and occasional expertise working in most 2D and 3D media.
Steve has been an instructor in the Cabinet and Furniture Making Department at North Bennet Street School for 13 years, serving as the program's head for nine. His work has been shown in galleries and published in the Fine Woodworking Design Book, and many museums and private collections feature Steve's restoration work.
Guest is Director of the Harvard Film Archive where he curates the HFA cinematheque and its motion picture, manuscript and photographic collections. As Senior Lecturer in Harvard's Department of Visual and Environmental Studies, Guest teaches courses on film history and archival practice.
Grandin is a doctoral candidate in the History of Art and Architecture at Harvard specializing in 17th- and 18th-century French print, painting, textiles, and gardens. Her dissertation, "To Scale: Manufacturing Grandeur in the Age of Louis XIV," investigates the material and technical challenges that underlay the artistic projection of royal power.
King is currently the Director of Education at the Harvard Ceramics Program where she coordinates ceramic-based academic collaborations and course work with eight different departments. Formerly an Associate Professor of Ceramics at Georgia State University, King specializes in ceramic art history and techniques. Her own work is exhibited internationally and she was recently a guest artist at the Shigaraki Cultural Ceramic Center in Japan.
