On Chance and Materiality: sculptor Rafa Pérez’s first East Coast exhibition

I’m looking forward to East Coast solo exhibit of the Spanish sculptor Rafa Perez–to be held from 3-5 pm at the Lacoste/Keane Gallery, 25 Main Street, Concord, MA, on August 3, 2019.

Born in 1957 in Haro, La Rioja, Spain, Perez studied ceramics at the Massana School of Art and Design in Barcelona. According to a gallery press release, he has been making abstract sculptures for over 30 years.

Though prolific and well exhibited in Europe, Pérez has been largely under represented in the United States –his only previous US solo show was at Minnesota State University in 2018.

Perez’s work is the result of two important factors – his masterful handling of the clay body while letting the unpredictability of the firing be an active participant in the process. This is achieved by mixing his own clay body and experimenting with firing temperatures. It is the element of surprise that motivates him to continuously tests materials until he is satisfied, he wrote, “I try to keep a balanced relation with the fire. I mean the fire has to work by its own as I do, but finally we are a team.” In the work Untitled #8, 2014 (pictured), Perez applied his own special formula of glaze on wire mesh which crawls during firing, giving the piece a dramatic affect.
Lucy Lacoste, the founder of our gallery surmises, “I have been watching Rafa Pérez’s career for some time and to me, he is exciting because of his handling of the materials which is innovative and unorthodox much like Jackson Pollock or Jasper Johns.”

Born in 1957 in Haro, La Rioja, Spain Perez studied ceramics at the Although prolific and well exhibited in Europe, says Lacoste/Keane founder and co-owner Lucy Lacoste. “He has been largely under represented in the United States –his only previous US solo show was at the Minnesota State University in 2018.”

Lacoste describes Pérez’s work as the result of two important factors: “… his masterful handling of the clay body and the unpredictability of the firing, which becomes an active participant in the process. This is achieved by mixing his own clay body and experimenting with firing temperatures. It is the element of surprise that motivates him to continuously tests materials until he is satisfied. “

Perez writes “I try to keep a balanced relation with the fire. I mean the fire has to work by its own as I do, but finally we are a team.”

In the work Untitled #8, 2014 (pictured), Perez applied his own special formula of glaze on wire mesh which crawls during firing, giving the piece a dramatic affect.

Lacoste says, “I have been watching Rafa Pérez’s career for some time and to me, he is exciting because of his handling of the materials which is innovative and unorthodox– much like Jackson Pollock or Jasper Johns.”

An opening reception with Rafa Pérez will be held on Saturday August 3, 3:00 – 5:00 pm, with an artist talk on Sunday August 4, 2:00-4:00 pm. For details call 978-369-0278 or email info@lacostekeane.com.

The new show at Lacoste/Keane Gallery in Concord, MA features both painting and ceramics—a new approach for the gallery in that it combines both the fine art of painting with (what is sometimes considered) the “lowly” craft of ceramics–and establishes a dialogue between the forms.

The show, entitled “Tim Rowan: Presence: Unifying Presence of Sculpture and Painting” features sculptures by Rowan, a leading ceramic artist in the Northeast, and abstract paintings by internationally-known Bernd Haussman,  whose works were  selected to compliment Rowan’s’ work.

The exhibit, at 25 Main Street in Concord, MA, runs through Dec. 1.

Tim Rowan
According to a gallery press release, “The ceramics elements of the show take visitors into the experience of an object’s presence and show how, by contemplating the materials and processes, the artist becomes ‘present’ with the work.

“Also, this significant new body of work by Rowan uses darker clay body with a darker firing— reflecting on how he sees our turbulent time.

“Among the upright vessels and boxes, a group of the intriguing elliptic forms (see Untitled Vessel VIII, below, left) resemble a capsule, missile or rocket mimicking a futuristic machine.

“The sense of irony is not lost to the artist as he examines the notion of man-made versus technology made works,” the writeup continues.  “What has been a study of technological forms like cogs and turbine in Rowan’s early works has evolved into abstract concepts.

“In Untitled Vessel X with Silver Tips (pictured below, right) a sleek dark grey hollow egg form with silver luster glaze conveys this and the artist’s energy.”

Shown in the gallery since 2000, Rowans work has taken a new direction, according to Gallery co-owner LaiSun Keane.

“In the past, it was the glorification of machine and this show is the critique of it – how one finds meaning in everyday life through man-made works and finding the energy of these objects as they are given in the making process.”

Bernd Haussman

Haussman’s paintings, chosen specifically by Keane and her co-owner Lucy Lacoste to compliment Rowan’s ceramic pieces, are, by and large,  two dimensional.

But, like ceramics, some are highly textured , with clay-like or even “fired” surfaces. Their colors and shapes coordinate with those of nearby ceramic pieces—and establish a dialogue with them.

Also like the ceramic pieces, the paintings show the artist’s process–and express the energy that goes into creating them.

As Haussman explained at the show’s opening on Saturday, November 10, many of his paintings express relationships–establishing dialogues– of colors, shapes and ideas– within themselves.

As artist-in residence at the Board Institute of Harvard and MIT from 2012-2015, Haussmann engaged scientists in a non-verbal dialogue through artistic work called “Dialogues.” He also participates in transatlantic exhibitions such as “KunstTraject langs de Leie”, Belgium, and “Art in Embassies.

Born in Tuebingen, Germany, Haussman has lived in the USA since 1994.

In my own view, the provocative ceramic works and beautifully crafted paintings amount to more than the sum of their parts. The novel combination—or dialogue– of objects and paintings makes a statement on the relationship of fine art to crafts–and to artistic creativity. And it turns the Lacoste Keane exhibition space into a work of art in itself.

At Lacoste/Keane Gallery 25 Main Street • Concord, MA 01742 978.369.0278 • www.lacostekeane.com* through December 1, 2018.

–Anita M. Harris

Anita Harris is a writer and communications consultant based in Cambridge, MA. 
New Cambridge Observer is a publication of the Harris Communications Group, also of Cambridge. 

Lacoste Gallery was founded 28 years ago by Lucy Lacoste with a focus on ceramics. In May, 2018, Lacoste joined forces with LaiSun Keane to form Lacoste/Keane Gallery– marking a new chapter in this gallery’s life. This gallery remains deeply committed to clay as an art medium focusing on showing contemporary, post WWII ceramic artists both established and emerging. In conjunction with its main ceramic shows, the gallery will present a 2-D art focus several times a year to broaden the dialogue between its ceramic works and audience. the gallery also offers for sale functional ceramic works by many well-known potters.

It’s not too late to see the work of three influential women i from three generations of ceramicists–Karen Karnes (1925-2016) , Nina Hole (1941-2016), and Ani Kasten (1976…) –at Concord’s Lacoste-Keane Gallery. But hurry, because the show closes September 1.

Karen Karnes, was an American pioneer in ceramics from the generation that came of age after WWII. Part of two legendary art communities: Black Mountain College and the Gatehill Community in New York with Merce Cunningham, John Cage and Robert Rauschenberg among others, Ms. Karnes was a modernist at heart- her inspiration came from Bauhaus. Her work has always been sculptural–even in her functional work. In the 1980’s and 90’s Karnes created her legendary winged vessels and slit forms. In the 2000’s when strength was an issue she turned to her sculptures of combined forms which can be seen as landscape, figurative or still life. Her work is sought after and collected by individuals and museums. Karen Karnes long illustrious career touched and influenced many within her field.

Nina Hole was a Danish ceramic artist well known for her large exterior “Fire Sculptures”. She traveled extensively around the world making her outdoor fire sculptures in situ with a team of assistants and volunteers. One can find her 25 large scale sculptures in countries like Australia, Japan, Denmark, Germany, Mexico, Turkey, Brazil and America. Architecture was a huge inspiration and in addition to making her fire sculptures; she made smaller scale sculptures inspired by houses, churches and buildings. Many who knew her intimately opined on how she really loved the firing processes as they allowed her to work with others. More than just an artist, she was also a huge champion of ceramics through her initiatives Clay Today, The International Ceramic Research Center Guldagergaard and CLAY–Museum of Ceramic Art.

Ani Kasten is an independent ceramic artist whose knowledge came outside the norms of ceramics. She had never touched clay before apprenticing to Rupert Spira in the UK. From England she went to Nepal where she spent four years as head of a project for developing a stoneware ceramic production facility for artisan potters.

Coming back to the US she rehabbed two houses and a studio living complex over the next 10 years all the while making her distinctive ceramics combining stoneware and porcelain with unorthodox and repurposed materials. Similar to Karnes, Kasten’s ceramic foray started in studio pottery which evolved and grew to expressive sculptures for which she is known today. Often Kasten responds to current social and political climate by reflecting them in her works.

This show brings together these influential artists from three distinct generations through their interpretation of ceramic sculpture. Each offers ways of seeing the world through their innovative and artistic expression. All are highly individualistic and mold breaking in their own rights.

“We are thrilled to represent these three legendary ceramic artists and bring their work to the public.” , said  Lucy Lacoste, the gallery’s founder.

Lacoste /Keane Gallery have been appointed the sole representative of Nina Hole’s estate in the USA.
The gallery is wheelchair accessible and free to the public.

Note: Lacoste Gallery is now Lacoste / Keane Gallery with Lucy Lacoste and LaiSun Keane as owners/directors.

The show runs through September 1, 2018.

The gallery is located at 25 MAIN STREET CONCORD, MASSACHUSETTS 01742 T: 978-369-0278 F: 978-369-3375 E: INFO@LACOSTEGALLERY.COM

–Anita M. Harris

Had a great time at this year’s women’s march…Much good cheer; great signage, and a wide range of participants. At about 2 pm, half-way through, a police officer told me that the crowd estimate was 4000…but he believed the number of participants was twice that, and I’d guess even a few more. (Given that there were only about 10 porta-potties, I’d also guess that was many more than the organizers expected). The sound system left something to be desired (from my perch on a monument, I could see the speaker but not hear an understandable word) but I much enjoyed the creativity of the signage and enthusiasm of the attendees.

–Anita Harris
Anita M. Harris is a writer and communications consultant based in Cambridge, MA. She is the author of Broken Patterns, Professional Women and the Quest for a New Feminine Identity  

and Ithaca Diaries, Coming of Age in the 1960s. 

New Cambridge Observer is a publication of the Harris Communications Group, a pr and content marketing firm  in Cambridge.

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When I was growing  up in Albany, my mother, our friend Dorothy and I frequently drove over to the Sterling and Francine Clark Art Institute, in Williamstown, MA, to see the Degas, Renoirs and other European and American works from the museum’s collection.

Clark Institute-Opened in 1955

Over the years, the marble building, which opened in 1955, became increasingly crowded with visitors.

Clark-Center_ReflectingPool_Opened 2014

But recently, the Clark has added more than 2,200 square feet of new gallery space in a fabulous new, light-filled wing called the Clark Center; a library and research center;  and, on a hilltop across the 140 acre campus, the Lunder exhibit center.

This summer,  I viewed woodcuts and large-scale paintings by the American Artist Helen Frankenthaler (1928-2011), and prints by the Spanish artist, Pablo Picasso–all in the Clark’s new buildings.

No Rules: Helen Frankenthaler Woodcuts

No Rules
The woodcut show, “No Rules,” takes its name from a quote from Frankenthaler:

There are no rules, that is one thing I say about every medium, every picture . …that is how art is born, that is how breakthroughs happen. Go against the rules or ignore the rules, that is what invention is about.

As  a Frankenthaler Foundation writeup explains: in 1983, having experimented with lithography, etching and screen printing, Frankenthaler  traveled to Japan to work with the expert woodcarver Reizo Monjyu and the printer Tadashi Toda.

“These efforts resulted in an entirely new, layered approach to color, which differed from traditional forms of woodcut in which images are pulled from a single carved block or from several different color blocks.”In the 1990s and early 2000s,

Japanese Maple, woodcut, 2005

Frankenthaler continued to experiment in woodcuts , working with dyed paper pulp printed with color blocks to create layers of color. For Tales of Genji (1998) and Madame Butterfly (2000), she again collaborated with an expert Japanese carver, printers, and papermakers to produce stunning prints that are considered landmarks in the evolution of the woodcut medium.”

I especially liked her Japanese Maple (above) a 16-color woodcut displaying the deep, vibrant tones of such trees–but no images. 

As in Nature
I found “As in Nature” (twelve large-scale paintings exhibited in the Lunder Center at Stone Hill)  breathtaking: vibrant shapes and colors demonstrating tension between abstract art and nature.

As suggested in a Frankenthaler Foundation press release, Frankenthaler’s work  maintains “a complicated relationship” with traditional landscape painting– showing nature as a joyous respite, despite its unpredictability and even violence.

Many of Frankenthaler’s works of the 1980s and ’90s… feature ‘unsettling contrasts among colors and forms, evoking the drama inherent in nature, beauty and destruction…”

After viewing the paintings, I walked down the road toward the reflecting pool and the Clark Center with heightened awareness of the vibrancy and serenity of the trees, plants, white clouds and blue sky. 

Shifting my gaze from the stunning museum architecture to the vibrant hillside,  I felt  engaged in the synergy of manmade artistic structures and natural ones, each creation highlighting the beauty of the others. 

Picasso/Encounters 

I would be remiss not to mention the fascinating Picasso | Encounters, which “ explores the artist’s interest in and experimentation with large-scale printmaking throughout his career.” The exhibit, in the Clark Center, displays  Picasso’s “evolving techniques, the narrative preoccupations that drove his creativity, the muses who inspired and supported him, and the often-neglected issue of the collaboration inherent in print production.   Showcasing 35 prints and three paintings, the exhibit includes  portraits, portraits and scenes such as “Luncheon on the grass,”  after Manet’s “Dejeuner Sur L’herbe.”   Several of the works bring the viewer perhaps uncomfortably “up close and personal” to the women in Picasso’s life.

According to a Clark writeup, Picasso (Spain, 1881-1973)had a complex relationship with women. He once argued: ‘There are only two types of women—goddesses and doormats.’ Such misogynist statements align with historical understandings of Picasso’s various muses as passive. But for Picasso the relationship was much more complicated; as his goddesses, these muses inspired his art and were the foundation of his family life. While it is perhaps easier to understand these women as servile, they were essential to Picasso’s life and art as collaborators and partners.”

Frankenthaler’s “No Rules” will be on view through September 24; “As In Nature” through October 9, and the Picasso “Encounters” through August 27. See them all if you can.

The Clark’s permanent collection features European and American paintings, sculpture, prints, drawings, photographs, and decorative arts from the Renaissance to the early twentieth century. The collection is especially rich in French Impressionist and Academic paintings, British oil sketches, drawings, and silver.

–Anita M. Harris
Anita Harris is a writer, photographer and communications consultant based in Cambridge, MA.
New Cambridge Observer is a publication of the Harris Communications Group, located in Kendall Square, Cambridge.

One of my favorite galleries is Lacoste, in Concord, MA–which features nationally and internationally known ceramicists–as well as emerging artists. Founded by Lucy Lacoste,  a ceramicist herself, the gallery shown the work of 80 or more artists.  Over the years, I’ve much admired Lacoste’s striking displays–which have provided insight and inspiration for my own writing and art.

The current exhibit, which runs November 19-December 4, 2016, is NORDIC LIGHT, features the work  of Anne Fløche and Hans Vangsø,  partners in life who work independently interpreting contemporary ceramics in Aarhus, Denmark. As Lucy Lacoste explains:

Anne Floche with patron

Anne Fløche is a Danish clay sculptor experimenting with various forms and colors in clay by using utensils or implements to make markings on clay surfaces. The color principles of terra sigillata, a clay slip used like a glaze, informs her application of colors which are subtle yet rich in scale. For Anne, clay is a broad canvas whereas glazes, engobes and slips are paints for her artistic expressions. In this exhibition, she is inspired by architectures of different geographical locations. Her sculptures are composed to form landscapes or cityscapes of an imagined world.

Anne Floche, Green Box

Anne Floche, Blue with White

Anne Floche, Tablet with White Time is Curved

Hans Vangso

Hans Vangsø is a Danish studio potter mentored by the great Gutte Eriksen, following the rich Scandinavian and Japanese ceramic traditions. His works are simple in form and line yet the surfaces are highly textured. Multiple firing processes and unconventional treatments of surfaces are his hallmark. Vessels are bisque fired then applied with thick glazes, wrapped in seaweed or metal then tightly bound in newspaper before firing to a high temperature.  Bubbles and blisters on the vessel surfaces as a result of these processes are unique in each vessel. Colors are subtle but there are unmistakable markings that appear to have gone through some form of geological stress.  

Hans Vangso, Tall Jar

Hans Vangso, Cut Jar

Lacoste Gallery was introduced to the work of Hans Vangsø and Anne Fløche by William Hull, the pre-eminent curator of Danish ceramics in the US. They are partners and share a home on the east coast of Jutland, Denmark.

Lucy Lacoste

“We have shown Hans Vangsø many times over the years; this is the first full show with him and his partner Anne Fløche. Both are rooted in Scandinavian traditions yet are applying exciting and new treatments to ceramic art. They have come to symbolize the new in Danish ceramics”  Lacoste said.

The current show runs through December 4, 2016. Next up is “New Pots, Utility 2, featuring the work of Linda Christianon and Jan McKeachie Johnston, from December 10, 2016-January 7, 2017. An opening reception with Christiabso and Johnston will be held on Saturday, December 10, 2016, from 3-5 pm; the artists will speak on Sunday, December 11, at 2 pm.

–Anita M. Harris

Anita M. Harris is a writer, photographer and communications consultant base in Cambridge, MA.

New Cambridge Observer is a publication of the Harris Communications Group, an award-winning pr and digital marketing firm in Kendall Square, Cambridge.

With all of the sturm, drang, disruption and depression in Cambridge last week after Donald Trump was elected President, I thought I’d retreat to upstate New York to commune with nature and art.

The nature went well,  but as it turned out, there was a shooting, probably gang-related, at Crossgates Mall, not far from my family home. There was news of hate crimes in New York  and elsewhere. And  I arrived at the Tang Museum at Skidmore College a few minutes too late for a community discussion of the election and its aftermath.

The discussion had been held beneath an installation called “Flag Exchange,”  comprised mainly of torn American flags. The flags collected as part of a multi-year project in which artist Mel Ziegler traveled across the US— offering new replacement flags for tattered ones flying at homes, post offices, businesses, and other public locations. The exhibit also included picnic tables painted red, white, and blue–all aimed at provocation and one would hope thoughtful dialogue on the current state of democracy.

After  accepting the gift of  a safety pin (the post-Trump election symbol of solidarity with those who have experienced racism, homophobia, xenophobia and such),  I did manage to escape somewhat into art in a wonderfully expansive  exhibit called “Six-fold Symmetry: Pattern in Art and Science,” curated by Skidmore faculty from a variety of disciplines.*

Among my favorite pieces were:

Drawing Memory, 2016, a wall-sized installation in which Nigerian artist Victor Ekpuk (b. 1964) uses white chalk on black-painted background to evoke and build on his understanding of Nsibidi, an African art form used by the secret Ekpe, or (Leopard Society). Art history Professor Emeritus Lisa Aronson writes that while he remains an outsider to the society, Ekpuk’s work resembles the dense and crowded aesthetic of Nsibidi (which is  often played out on cloth) giving his viewers a complex display of imagery to decode. Ekpuk’s wall drawings mirror Nsibidi’s impermanent and performative nature, both in his preferred use of an erasable chalk medium and his practice of removing the murals from the wall at the end of exhibition.

First Family–Hexagon, 2010

Iranian born Monir Farmanfarmaian (b.1924) synthesizes Persian history and artistic traditions and western geometrical abstraction in her mirrored sculpture “Hexagon.” According to  Computer Science Professor Michael Eckman, the calculation and geometry of 14th century mosaics are closely tied to Sufism, the mystical aspect of Islam, and its sacred numerology. As Farmanfarmaian explains, “The six sides of the hexagon are the directions, forward, backward, right, left, up, down. The hexagon also reflects the six virtues: generosity, self-discipline, patience, determination, insight and compassion. All the mosques in Iran, with all the flowers and the leaves and the curves and so on are based on hexagons. For me, everything connects with the hexagon.”

 Arachna’s Arcade, 2008, by Providence, RI, sculptor Dean Snyder (b. 1955) is a “drawing in space,” of a spider web. Its  “silk” is composed of highly-polished steel–which makes the web appear almost photographic in that it transposes the outside garden into the Tang gallery, curator Rachel Seligman, associate professor of mathematics, points out.

Energy Scaffolds and Information Architecture (Return to Formlessness), 2015  With use of color pencil, graphite and architectural stencils on antique ledger book pages, the intricate drawings of American artist Louise Despond (b. 1983) emerge  “organically”,  beginning with a few marks on paper but with no formal plan.  “Each drawing is a process of discovery, with a larger, universal force guiding the emerging patterns. This intuitive process generates imagery that is symmetrical, highly geometric and possessed of an expressive energy that she feels is connected both the spiritual realm and to nature,” Seligman writes.

Hours 1-8, 2016. In this series of oil paintings on linen, Grace DeGennera (b. 1956 ) “explores the ways we experience the passage of time.”  As  Roe-Dale points out, DeGennera uses “iteration”  to depict this movement, not unlike  the way in which mathematicians iterate a model (as Gravner and Griffeath did to generate their “snowfake”, described below). “Time that progresses discretely is visualized in her beads of pigment, suggesting a clock ticking …hour by hour,” Roe-Dale writes. “From afar, however, the series evokes the continuous unbroken flow of time from past to future, through the loosely brushed washes of color in the backgrounds, which reflect the shifting light as day turns into night.”

Bentley “photo” of real snowflake

Wilson Bentley’s “Snowflakes” are captured through novel
photomicrosopy techniques he developed  starting in 1885. Bentley (1865-1931) a farmer and amateur meteorologist, was the first to photograph a single snow crystal. According to Roe-Dale, Bentley’s work responds to the 1611 inquiry of  German mathematician and astronomer Johannes Kepler’s  into the genesis of forms and to his theories about he origin of the intricate hexagonal pattern of the delicate snowflake structure.

Snowfake

Snowfakes
In 2016, Janka Gravner (b. Slovenia, 1960)  and David Griffeath (b. US, 1948)  used a mathematical model to computationally generate what they call “snowfakes.”. A goal was to investigate the formation of snow crystals and perhaps to advocate for the human ability to replicate natural, ordered beauty with deliberate, algorithmic design. According to Roe-Dale, Gravner and Griffeath used the methods of cellular automation to account for physical variables such as temperature, pressure and water vapor density in modelling the diffusive, freezing, attachment and melting actions of individual water molecules in a matrix of three dimensional space. They came up with more than 80 types of snowflake crystals generated by nature, thus providing insight into the form and design of ice and other crystalline solids.

*
Thomas Bansted’s “Last of the Dreadnaughts,” 2011-2012, (below) is  based on “Dazzle,” a pattern of disruption conceived by British artist Norman Wilkinson in 1917.  During World War I, Wilkinson commanded a unit in the Royal Academy, in which artists and students created bold patterns used on ships to make it difficult for submarines to predict boats’ paths or aim weapons.

In “Dreadnaughts,” Bangsted, (b. Denmark, 1976) created a series of large-scale digitally-assembled photographs of World War I ships.  Associate Art Professor Sarah  Sweeney writes that in his manipulations, Bangsted applies a Dazzle pattern that “highlights the incongruity of the ship with its background”–breaking up the form of the ship and concealing its identity.

As explained on the Tang Website, Patterns, systems, and networks are all around us, and in this digital age we are increasingly aware of their influence on our lived experience. This exhibition explores some of the ways in which human beings create and manipulate patterns, and why we are intrinsically driven to do so. Patterns allow us to understand and predict complex natural and cultural phenomena, and to create artworks and other structures of surprising complexity and unity.

Yet the exhibit also shows that in nature–as in snowflakes and spider webs–while amazing and beautiful patterns exist, no two creations  are exactly alike, and patterns are enhanced and enlivened by variation.

Given the current political situation, it strikes me that that much as we may crave the comfort and safety of ongoing patterns, we can also be bored by them. And that as inhabitants of the natural world we must expect–and find beauty despite– disruption in our lives.

I highly recommend the exhibit, which will be at the Francis Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga, New York, until March 12, 2017.

*The exhibition was co-curated by Rachel Roe-Dale, Associate Professor of Mathematics, and Rachel Seligman, Assistant Director for Curatorial Affairs, Tang Museum, in collaboration with: Lisa Aronson, Professor Emeritus of Art History; Grace Burton, Associate Professor of Spanish; Michael Eckmann, Associate Professor of Computer Science; Rebecca Johnson, Associate Professor of Psychology; Elizabeth Macy, Visiting Professor of Music; Josh Ness, Associate Professor of Biology; Gregory Spinner, Teaching Professor in Religious Studies; and Sarah Sweeney, Associate Professor of Art. The exhibition is supported by The Andrew W. Mellon Foundation and Friends of the Tang.

–Anita M. Harris
Anita Harris is an author, photographer and communications consultant based in Cambridge, MA. 

New Cambridge Observer is publication of the Harris Communications Group, an award-winning PR and digital marketing firm located in Kendall Square, Cambridge.