Word: liebermanã
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...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...
...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...
...video features a re-staging of an instructional taxidermy video, but Lieberman??s version replaces the dead whitetail deer from the original with a log of driftwood. “Taxidermy is interesting in how the animal becomes a replica and a representation of itself,” Lieberman says. “In my particular video, I address the relationship between the process of taxidermy as a mode of representation and art and sculpture.” During the event, the video installation will play alongside an actual taxidermied deer, highlighting how her work comments...
...result of the projections, and several odd moments during which characters speak into handheld microphones, the production comes off as cold, sterile, and preachy. The cavernous quality of the Loeb Mainstage only adds to this empty feeling. While the various scenic elements—designed by Andrew Lieberman??are visually striking throughout the three set changes, their scattered placement on the vast stage also underscores the emotional barrenness of the production...