Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly

Nancy Friedemann-Sánchez Cornucopia, 2016 India Ink on Tyvek 108 x 225 inches Courtesy the artist

Nancy Friedemann-Sánchez
Cornucopia, 2016
India Ink on Tyvek
108 x 225 inches
Courtesy the artist

December 7, 2017–February 24, 2018

Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly takes the migration path of the Monarch butterfly, as a geographic range and a metaphor. The butterfly crosses the border of the United States at its junctions with Canada at the north and Mexico in the south along the entire length of both of these conceptual divides. Bypassing the hotter, desert regions of the country, Monarchs flock along its western and eastern coastal edges, but the busiest path of the orange-and-black butterfly is through the center of the United States. The Monarch travels through Midwestern states of Minnesota, Wisconsin, and Illinois, across the Great Plains of Nebraska, Kansas, and Oklahoma, onwards through the Texas Hill Country all the way to the state of Michoacan in Mexico. The path of the butterfly also connects the site of the Dakota Access Pipeline where it crosses the Missouri River at the border of the Standing Rock nation to the U.S.-Mexico border, but the butterfly itself is indifferent to these artificial borders and conceptual divisions.

The exhibition Monarchs sees the defense of Standing Rock and the threat to build a border wall as continuous issues that pose challenges to people native to the Americas who have been separated by conceptual categories of indigenous, immigrant, and assimilated. Like the butterfly, which takes four generations to make the complete migratory path navigating its way through the center of the United States by drawing from inherited knowledge, these artists also pull from ancestral and cultural memory to reveal the deep conceptual legacies underpinning abstraction, reorient historical and art historical narratives, and explore centuries-old trade routes that moved aesthetics in addition to goods. Monarchs considers how objects, still and moving images, sound, and performances made by artists living in the path of the butterfly reveal their identities through form, process, and materiality rather than through content. To create the exhibition, Bemis Curator-in-Residence Risa Puleo looked to the butterfly for inspiration for the exhibition’s primary themes:

Migrations: The length of the Monarch's migratory path is over 3,000 miles long, and unlike any other butterfly, the Monarch makes this path twice. The butterflies cross two international borders and dozens of states. Rodrigo Valenzuela explores the landscape of migration along the U.S.-Mexico border while Sky Hopinka, Francisco Souto, and Wendy Red Star employ road trips as their means of moving across the United States. Other types of movement including immigration to displacement, itinerancy, nomadism, and also the condition of being immobilized are explored by William Cordova, Gonzalo Reyes Rodriguez, Marty Two Bulls Jr., and Cannupa Hanska Luger. Nancy Friedemann-Sánchez and Harold Mendez examine how objects were moved across centuries-old trade routes, bringing aesthetics and styles with them across vast expanses of space.

Inheritance: No one butterfly completes the trek from the U.S.-Canada border across the U.S. to the butterfly forests of Michoacán, where individual butterflies often return to the same Oyamel Fir tree as their ancestors. They do so by drawing from knowledge inherited from butterflies who forged the path before them. Artists in Monarchs also pull from ancestral and cultural memory speaking to an inherited means of production and genealogy of form. Truman Lowe transforms the basket weaving techniques taught to him by his parents while Margarita Cabrera learned the craft of copper hammering of Santa Clara del Cobre, a town in Michoacán. Ronny Quevedo, Rafa Esparza, and Carlos Rosales-Silva incorporate building materials such as drywall, adobe, and plaster respectively into their paintings as an homage to constructing buildings and working-class labor.

Transformation: Over the course of its life, the Monarch butterfly takes on radically different forms, transforming from egg to caterpillar, chrysalis, and, finally, butterfly. Artists like Jeffery Gibson, Mary Valverde, Donna Huanca, and Ivan Lozano explore how costume and textiles join forces with performance to form the basis of sacred ritual and ceremony that provide passageways to the spiritual.

Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly is curated by Risa Puleo, 2017 Bemis Center Curator-in-Residence.

The Curator-in-Residence program's inaugural year is made possible by Carol Gendler and the Mammel Foundation. 

Jeffrey Gibson All You Took I Gladly Gave, 2013 Found Tipi Poles, Buffalo Hide, Rawhide Lacing, Artificial Sinew, Wool Army Blanket, Acrylic Paint, Glass Beads, Quartz Crystals, Plastic, Sterling Silver 10 x 2 x 19 feet; Travois: Four 24 foot long tipi poles with 2.5–3-inch diameters; Buffalo Hide Trunk: 27 x 40 x 23 inches Courtesy the artist

Jeffrey Gibson
All You Took I Gladly Gave, 2013
Found Tipi Poles, Buffalo Hide, Rawhide Lacing, Artificial Sinew, Wool Army Blanket, Acrylic Paint, Glass Beads, Quartz Crystals, Plastic, Sterling Silver
10 x 2 x 19 feet; Travois: Four 24 foot long tipi poles with 2.5–3-inch diameters; Buffalo Hide Trunk: 27 x 40 x 23 inches
Courtesy the artist

Salvador Jiménez-Flores Nopales hibridos: An Imaginary World of a Rascuache-Futurism, 2017 Terra-cotta, porcelain, underglazes, gold luster, terra-cotta slip 96 x 96 x 96 inches Courtesy the artist

Salvador Jiménez-Flores
Nopales hibridos: An Imaginary World of a Rascuache-Futurism, 2017
Terra-cotta, porcelain, underglazes, gold luster, terra-cotta slip
96 x 96 x 96 inches
Courtesy the artist

Exhibiting Artists

Gina Adams
Carmen Argote
Natalie Ball
Margarita Cabrera
Juan William Chávez
Maria Chavez
William Cordova
Rafa Esparza
Nancy Friedemann-Sánchez
Guillermo Galindo
Jeffrey Gibson
Sky Hopinka
Donna Huanca
Truman Lowe
Ivan LOZANO
Cannupa Hanska Luger
Salvador Jiménez-Flores
Merritt Johnson
Rodolfo Marron III
Harold Mendez
Mark Menjivar
Ronny Quevedo
Wendy Red Star
Gonzalo Reyes Rodriguez
Josh Rios & Anthony Romero
Guadalupe Rosales
Carlos Rosales-Silva
Sarah Rowe
Edra Soto
Francisco Souto
Marty Two Bulls Jr.
Rodrigo Valenzuela
Mary Valverde
Dyani White Hawk
Nathan Young
Sarah Zapata

Announcing the 2017 Recipients of the Painters & Sculptors Grants

JMF.jpg
I am honored and humbled to announce that I am a recipient of the Joan Mitchell Foundation Painters & Sculptors Grants! Thanks to whomever nominated me to apply!
With gratitude,
— Salvador

The Joan Mitchell Foundation is pleased to announce the 2017 recipients of our annual Painters & Sculptors Grants. The 25 artists in this diverse group will each receive an unrestricted grant of $25,000, along with professional development and residency opportunities. The recipients are:

Leonardo Benzant Richmond Hill, NY

Drew Michael Anchorage, AK

Ruth Buentello San Antonio, TX

Arcmanoro Niles Brooklyn, NY

Colin Chase Ulster County, NY

Pat Phillips Pineville, LA

Pamela Council Bronx, NY

Lucy Puls Berkeley, CA

Solomon Enos Honolulu, HI

Analia Segal Brooklyn, NY

Jes Fan Brooklyn, NY

Rodrigo Valenzuela Culver City, CA

Ana Fernandez San Antonio, TX

Derrick Velasquez Denver, CO

jonathan paul gillette New York, NY

Michael Wang New York, NY

Salvador Jiménez-Flores Boston, MA

Dwayne Wilcox Rapid City, SD

Sonya Kelliher-Combs Anchorage, AK

Amanda Williams Chicago, IL

Riva Lehrer Chicago, IL

Antoine Williams Greensboro, NC

Joel Longnecker Red Hook, NY

Jenifer K Wofford San Francisco, CA

Michi Meko Atlanta, GA

The Painters & Sculptors Grants were established in 1993 in direct response to artist Joan Mitchell's instructions that a portion of her estate be used to "aid and assist individual painters and sculptors." This year's group of recipients represent a wide range of artistic practices and demographics. The artists range in age from 27 to 62, hail from 12 states in all regions of the U.S., including two artists from Alaska and one from Hawaii, and eighty percent identify as nonwhite. Employing a broad array of materials and processes, their work explores some of the most pressing issues of our time, including the immigrant experience, transgender rights, the housing crisis, racial and economic inequality, global warming, and Confederate monuments. The recipients join more than 500 contemporary artists who have received Painters & Sculptors Grants over the last 24 years, including many luminaries supported early in their careers. 

"In a time when artists' voices are so crucial for the health of our society, but unrestricted grant funding is so scarce, the Foundation's Painters & Sculptors Grants provide essential resources to a wide spectrum of today's working artists," said Christa Blatchford, Chief Executive Officer of the Joan Mitchell Foundation. "Our vision, rooted in Joan Mitchell's generous embrace of other artists, is to provide the necessary supports for artists to continue to innovate in their practices and create ambitious new work that inspires, engages, and fosters dialogue, as an important element of community-building. We look forward to continuing our relationships with the exceptional artists who are receiving grants this year."

Selection Process
The recipients of the Painters & Sculptors Grants are selected through a nomination and jury process. Nominators from across the country are asked to recommend artists--at any stage in their career--who they believe deserve greater recognition for their creative achievements, and whose practices would significantly benefit from the grant. In an anonymous, multi-phase process, a jury panel then selects the 25 awardees. Nominators and jurors include prominent visual artists, curators, and art educators who are dedicated to supporting artists, and the list of participating nominators and jurors varies from year to year. As with the grantees, participation as a nominator, juror, or grant recipient is also open to artists or colleagues who have not pursued a traditional BFA and/or MFA education as part of their career path. 

"Ensuring access and equity is an important part of our process and our desired outcomes," said Travis Laughlin, Senior Director of Programs at the Joan Mitchell Foundation. "Over the last three years, we have continued to broaden our approach, bringing in nominators and jurors with geographic, ethnic, and experiential diversity, in order to ensure that the artists nominated for the Painters & Sculptors Grants are reflective of varying backgrounds and approaches to their work. We can see the success of this process in the current group of recipients."

The Foundation's Painters & Sculptors Grants are unrestricted in order to offer artists the most flexible form of support. As part of their applications, grantee artists note how they plan to use these funds, with needs typically falling into four categories: acquiring the materials or equipment necessary for their art-making; securing better or larger spaces to work or live; for research, travel, and experimentation with their practice, in order to develop more ambitious work; and to find new ways to engage with their communities. 

In addition to the $25,000 award, the Foundation connects its grant recipients to a national network of arts professionals through free professional development consultations, which may come in the form of career and financial management advice or answers to legal questions. Grantees also become eligible to apply for residencies at the Joan Mitchell Center in New Orleans, which opened in 2010 to provide both national and local artists with additional space and support to develop their practices.

Download the full press release

Read more about the artists on our website

-------------------------------------------------------------------------------------------------

ABOUT THE JOAN MITCHELL FOUNDATION
The Joan Mitchell Foundation increases recognition of the work and life of pioneering abstract painter Joan Mitchell. Grounded in Mitchell's desire to support the aspirations of visual artists, the Foundation engages individual artists through grant-making, programming, and collaborations.

In addition to the promotion and preservation of Joan Mitchell's legacy, the Foundation's activities are currently focused on three areas: grants; artist legacy support; and artist residencies. The Foundation's grant programs include the Painters & Sculptors Grants, Emerging Artist Grants, and Emergency Grants, which provide support to artists whose work has been affected by natural or man-made disasters. The Foundation's Creating a Living Legacy (CALL) initiative provides support to older artists in the areas of studio organization, archiving, and inventory management, in order to help with the creation of a comprehensive and usable documentation of their artworks and careers. The New Orleans-based Joan Mitchell Center offers artist residencies to national and local artists, and also offers public programs such as artist talks and open studio events. Together, all of these programs fulfill Joan Mitchell's goal of creating a foundation that actively supports the needs of working artists, while amplifying the essential contributions artists make to the culturally diverse world in which we live. To learn more, visit joanmitchellfoundation.org.

Tortilla Social at Urbano Project

Tortilla Social Event at Urbano Project

Join us for the final exhibition of Tortilla Social at Urbano for a screening the Tortilla Social documentary and an exhbition of the prints created during the workshops across Boston! 

Tortilla Social is an interactive printmaking and food workshop using a multi-functional tortilla press designed and led by Urbano artist in residence Salvador Jiménez-Flores. Participants of all ages have the opportunity to use the tortilla press to make their own art print and to eat freshly made tortillas.

Tortilla Social was made possible with funding by the New England Foundation for the Arts' Creative City Program, with funding from The Barr Foundation and with additional support from the Boston Foundation. Tortilla Social has also partnered with the Urbano Project and Hyde Square Task Force as community partners on this project.

This event is free and open to the public. 

Facebook Link: https://www.facebook.com/events/148397549242530/

Learn more about Tortilla Social here:
http://www.salvadorjimenezflores.com/tortillasocialevents/

Support Urbano's next 8 years of art for social change. Your generous gifts make this work possible. http://urbanoproject.org/get-involved/

UPCOMING EXHIBITIONS

BOSTON
URBANO ENCOUNTERS: A Retrospective Exhibition
Thursday, September 21 | 6:30 to 9:00 pm.  
@Urbano Project, 29 Germania Street, Jamaica Plain, MA 02130  
Co-curated by Colombian-born curator/artist Julián Serna and Urbano's Founder and Artistic Director, Stella Aguirre McGregor, this exhibition features various socially-engaged projects that have taken place at Urbano, including artworks of Pablo Helguera, Pedro Reyes, Lina Maria Giraldo, Salvador Jimenez Flores, Nora Valdez, Darren A. Cole, among other artists. 

Resilient Current
September 9-October 21
Reception | September 22 | 4:30-7:00pm
Printmaking Workshop | October 21 | 3:00-4:30pm

99 Albany St., Boston 02111 | bcnc.net/pao | 617.635.5129
Boston Aritist-in-Resident Salvador Jiménez-Flores & Josiah Quincy Elementary School students

Resilient Current is a printmaking installation that embraces the past and present immigrant communities that have transformed Chinatown. I like to think of kindness and generosity as a characteristic of emphasis for this project and as a way to speak against hatred, misogyny, and xenophobia. Through this art project, we want to embrace the diverse groups that have been part of the Chinatown community and provide hope, inclusion, and a sense of belonging for all immigrants, and most importantly, emphasize that we are all free, capable, and equal.

GRAND RAPIDS
Cultivate
Tuesday, September 12, 2017 12:00pm
Sunday, December 10, 2017 5:30pm

Urban Institute for Contemporary Arts
2 Fulton West
Grand Rapids, MI 49503

Cultivate is a curated group show that uses food as a lens to examine cultural history, social equity, and the effects of globalization on communities. Food – how it is produced, the environmental conditions that make it sustainable, how it is consumed, the cultural practices related to it – has been the subject of art for centuries. From Northern Renaissance still life paintings, to Pop Art social metaphor, to contemporary relational aesthetics that spur social interaction, food remains an important subject of expression. The artists presented in Cultivate have chosen as their subjects elements that relate to all of these, while challenging viewers to consider our present relationship with what we consume as the fulcrum for our future relationships with one another, and with the environment.

CHICAGO
Ass Grass or Gas
September 9 - October 21st

Tiger Strike Astroid
319 N Albany

Sparked by an interest in vanning culture, curators Josue Pellot and  Robin Dluzen explore the aesthetics of the sub-culture with this exhibition that encompasses wider ideas about taste, the vernacular, and the psychedelic. In the gallery, Josue Pellot, Robin Dluzen, Margaret Crowley, Salvador Dominguez, Salvador Jimenez-Flores, Jourdon Gullett, Chantal Johnson and Omar Velazquez contribute works that reference customization, the vintage forms and patterns of a particular eraof American-made vans, and the free-wheeling spirit that comes with complete immersion into a world with an alternate set of norms, values and attitudes.

Tortilla Social | Creative City Grantee

Creative City art projects extend into Boston neighborhoods featuring creative expression of many disciplines including theater, music, dance, visual art, spoken word, and more. Programs offer a variety of opportunities for community participation, including performances, workshops, receptions, and interactive storytelling.

Creative City was launched in 2015 by New England Foundation for the Arts with hopes to support individual artists to enliven neighborhoods and engage communities. The grant program has awarded $318,500 to 33 projects in four rounds of applications. In addition, Creative City has also awarded $20,000 to 20 community partners ($1,000/each) to support/collaborate with the individual artist project (more partner applications are in process now).  The deadline for the fifth invitation for individual artist applications will be in September 2017; the date will be announced in late spring. For grant eligibility and criteria, visit https://www.nefa.org/creative-city-grant. Creative City is made possible by the Barr Foundation with additional funding from the Boston Foundation.

Artists who receive Creative City grants engage in important conversations in their communities around displacement, immigration, identity – timely issues that impact all of us,” said Cathy Edwards, NEFA executive director. “Supporting local artists’ visions is critical, and this does that through surprising ways and locations.”

“Creative City is about taking the life and stories of communities and, through the powerful synergy of artists and residents, examining and retelling those stories in fresh and provocative ways,” said San San Wong, Barr Foundation’s senior program officer for arts and creativity. “We continue to be excited to see the varied scope of these engagements in communities across Boston. It has been our privilege to partner with NEFA in supporting so many talented artists and see new stories of neighborhoods come alive through this program.” 

Learn about previous Creative City artist grantees and community partners.

Trump can’t stop the National Museum of Mexican Art

With “Memoria Presente: An Artistic Journey,” the institution proudly and vibrantly celebrates its 30th anniversary.

by Kerry Cardoza

April 05, 2017

Courtesy National Museum of Mexican ArtSalvador Jiménez-Flores, La Resistencia de los Nopales Híbridos (The Resistance of the Hybrid Cacti), 2017

Courtesy National Museum of Mexican ArtSalvador Jiménez-Flores, La Resistencia de los Nopales Híbridos (The Resistance of the Hybrid Cacti), 2017

 "Memoria Presente: An Artistic Journey"

Through 8/13: Tue-Sun, 10 AM-5 PM
National Museum of Mexican Art
1852 W. 19th
312-738-1503
nationalmuseumofmexicanart.org
Free

Local artist Alberto Aguilar often uses cognates—or as he describes them, "words that can be read in English and in Spanish simultaneously"—in his work. He knew he wanted to incorporate them when the National Museum of Mexican Art asked him to participate in its 30th anniversary exhibition, "Memoria Presente: An Artistic Journey." One of his contributions is the first work visitors encounter, a window sign that reads PORTAL in bright red letters above the entrance. It's a word that takes you places: into another dimension, another world, another time. With the White House planning to build a wall along the U.S.-Mexico border and increasing raids in immigrant communities—one of which resulted in a federal agent shooting a man in Belmont Cragin last week—entering a space where those communities are celebrated can indeed feel like being transported to a different reality.

The National Museum of Mexican Art was founded by Carlos Tortolero and a group of educators in 1987. Originally called the Mexican Fine Arts Center Museum, the space expanded in 2001 and in 2006 adopted its current name. It's the only Latino museum accredited by the American Alliance of Museums. Cesáreo Moreno, the director of visual arts and chief curator, says the mission of the institution has remained the same throughout its history: To display the beauty and depth of Mexican culture, to develop a Mexican art collection, and to cultivate Mexican artists.

"I think our mission is still strong, it still holds true," he says. But that doesn't mean he hasn't seen changes in the Latino art-world community since he started at the museum in 1995. He notes a big increase in female artists, and a greater diversity of content and material in artwork. In the 80s and 90s, he says, artists of Mexican descent had their ethnic identity in the forefront of their work. "Today's artists, I think, have a much more complex identity," Moreno says.

ADVERTISING

 

For this exhibit, Moreno, who curated the show along with Dolores Mercado and Ricardo X. Serment, sought to include a wide range of artists—31, in fact, from Chicago and vicinity were invited to participate. "We want people to see and understand that there is a huge variety and diversity in the Mexican community," Moreno says. The works on display represent an array of mediums. There's graffiti, painting, video, and a kinetic sculpture, among other contributions. 

Some of the strongest pieces are mixed- media installations. In Suffocated From the Inside (Party Chain) v2, Ivan Lozano pays tribute to the murdered son of the poet Javier Sicilia. Lozano downloaded and printed images of drug-cartel murder victims from the Internet, transferred them onto packing tape, and then formed them into paper chains like the ones you find in an elementary school classroom. Installed in a corner, the chains are lit by a lightbulb underneath them; a photo of a sunset adorns the wall. Yvette Mayorga's Make America Sweet Again, a sugar-coated critique of the American dream, is inspired by her family's work in the confectionery industry: pink and blue faux frosting on the walls is shaped into cakes and American flags. 

Georgina Valverde addresses the history of the museum's location for her installation, Temazcal, named for a Mesoamerican steam bath traditionally used to "cleanse the body, heal the sick, or assist women in labor." She learned that Harrison Park, which borders the museum, originally housed a natatorium, or indoor swimming and wading pools. Space constraints led her to make a model of the bath, composed primarily of melted plastic bags covered with crocheted yarn. Valverde says the craft that went into making Temazcal was important, as her culture "still has a strong artisanal tradition."

"It also speaks about the labor that is here in this country that makes possible so many aspects of our lives," she says, "all from the contributions of immigrants."

In conjunction with "Memoria Presente," the NMMA is also running an extensive programming series for the local Mexican community. Events range from a street tour of public art to a presentation of 60 political cartoons in 60 minutes by artist Eric J. Garcia. Moreno notes that education and engagement have always been priorities for the NMMA. "That's how we start to change a society, through education," he says. "We firmly believe arts education can build bridges between communities." To that effect, the NMMA remains one of the few museums in the city that's always free. 

"In a time in the United States when being Mexican and being an immigrant has really been tarnished," Moreno says, "I think that we have an even stronger struggle ahead of us to provide an accurate understanding of what it means to be Mexican and what it means to come from an immigrant community. Now the museum more than ever needs to really stand up and kind of show the other side, the beauty of our culture and the strength of our community."

There's another piece by Aguilar above the exit of "Memoria Presente": Titled Éxito, it's a sign that reads TERMINAL made of painted butcher paper, black streamers, and black masking tape. Another cognate, but this one has darker connotations. Yet the word éxito suggests an alternate meaning, "more like celebration or wishing someone good luck," Aguilar says. "I like to do this thing where I just am factual, like I just state facts," he continues. "I hope sometimes that in doing that, that poetry sort of naturally emerges, rather than me forcing it." 

The same could be said of the NMMA. It could be more overtly political in the exhibitions it stages, but the museum doesn't force the issue. By representing a wide range of artists with a diversity of experiences, it lets a different story emerge, one that celebrates our differences instead of fearing them.  

Together We Rise Boston

Join Together We Rise: A Counter-Inaugural Celebration of Resistance as we raise our voices for a more just, creative, & peaceful future. The one-of-a-kind event–to be held on the eve of the presidential inauguration–will include a procession to the theater, social justice art show, mobilization fair, and a call-to-action concert featuring a talented and inspiring set of performers including renowned musician Larry Watson and his ensemble.  Spoken word artist Ashley Rose Salomon will emcee the event. Additional performers to join the bill include spoken word poets, comedians, authors, dancers, and more.

Just making free Declaration of Immigration print.

Just making free Declaration of Immigration print.

Time Travel with the Vessel Form

El Moche Style

El Moche Style

Dates: September 6 - November 22
Days/Times: Tuesdays, 1:00 - 4:00 pm
Level: Beginning - Advanced
Instructor: Salvador Jiménez Flores

Course description: In this course students will explore different hand building and image techniques in both utilitarian and decorative vessels. Students will utilize the collections of the Harvard Museums of Science and Culture to draw inspiration. Part of the class will focus on observing and recreating a historical vessel while implementing the possible ancient methods of creation. Students will also have the opportunity to create their own designs and personal narrative with a contemporary approach.12 classes/13 weeks. 
Course Fee:  Harvard Undergraduates: $125, Harvard Graduates: $225, Community Returning: $860.00, First Time Community: $780.00

For questions regarding registration, accessibility, discounts for multiple-class registration and new student referrals, and employee assistance programs, such as TAP: contact Shawn Panepinto, Director of Operations, at 617.495.8680 or email panepint@fas.harvard.edu

Students from other colleges interested in taking Ceramics courses: email panepint@fas.harvard.edu.

For questions regarding course content, email Kathy King, Director of Education at kking@fas.harvard.edu.

 

 

Watershed Center for Ceramic Art | Summer Residency

I had the privilege to be part of the "Nature in Ceramics" Artists-Invite-Artists a week ago and I had my watershed experience. I was able to create a new body of work based on the research that I've been working on for the past months as Artist-In-Residence (AIR) at the Harvard Ceramics Program. These two weeks were crucial to produce the work that will be show case in September as the completion of my first year as  AIR at the Harvard Ceramics Program.