Word: arts
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Holding notes that she also took time to explore many other facets of the Harvard community, concentrating in History and Literature with a secondary concentration in Dramatic Arts. “I sometimes feel that I only have one foot in the theater door,” she says. But this fall, she will be focusing on her art form when she begins her studies in the Graduate Acting Program of the Tisch School of the Arts at New York University. At Tisch, Holding said that she “hopes to gain the tools to make anything?...
...feel like I’ve done a kind of one-eighty since I’ve come here,” says Rebecca S. Lieberman ’10, describing the evolution of her art throughout her time at Harvard. Lieberman’s final exhibition as an undergraduate will feature selections from her thesis in Visual and Environmental Studies (VES) including “Whitetail Deer, A to Z,” a two-hour video piece...
According to Lieberman, she had no intention of concentrating in VES when she arrived at Harvard. Despite an interest in photography, she was initially daunted by the rigor and interdisciplinary demands of the department. After taking a class in VES and joining the art and design boards of The Harvard Advocate as a freshman, Lieberman says her concentration “decided itself.” “She’s involved with a lot of different kinds of art, and I think in the future she’ll continue to be prolific...
Lieberman owes much of her exposure to the influences that would inform her sculpture and video work to Amie Siegel, an artist and professor in VES. Her time as studio assistant to Alison Knowles—a Radcliffe artist-in-residence famous for her involvement in the Fluxus art movement of the 1960s alongside Marcel Duchamp and John Cage—helping to prepare lectures, participating in Fluxus performances and contributing to works exhibited in Potsdam’s Fluxus Museum, also impacted Lieberman’s work...
Lieberman attributes the most influence, however, to Helen Mirra, the artist and VES professor who taught Lieberman’s first sculpture class and advised her thesis this year. Mirra pushed the conceptual boundaries of Lieberman’s art, particularly regarding formal and material decisions in her sculpture work. “She and I are really different, but I think in the way she approaches talking about art, her work and other people’s work, we speak the same language,” Lieberman says. “I like the ways she critiques...