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Taylor's photos are colorful depictions of powerful, contradictory images: first-generation Mexican Americans working as Border Patrol Officers, gun-toting Mexican soldiers amiably giving Taylor directions; air-conditioned immigration offices alongside empty detention centers; and perhaps most movingly, apprehended drug smugglers who were unknowingly used as decoys by their colleagues.
Photographer David Taylor’s exhibit "Working the Line," which documents the U.S.-Mexico border, opened on Wednesday at the David Rockefeller Center for Latin American Studies.
The studio was formerly housed across the street at 219 Western Ave. It was moved in September to make space for the buildings slated to be built on Harvard’s Allston campus.
The professors who developed the curricula for these introductory courses said that the classes aim to offer students a broad approach to the humanities that stresses the everyday relevance of the discipline.
Actors Ian Somerhalder and Eloise DeJoria were among the crowd that filled Boylston Hall on Saturday afternoon to view the top films in the Girls Impact the World Film Festival.
It’s a snowstorm Saturday in Cambridge, and I’ve been hit by an unusual wave of both ennui and energy. Either the weather or some suppressed self-loathing has made me hungry to rip something to shreds. The critic rears its ugly head. My target today: Harvard’s art.
Alfred Uhry, right, talks to English professor Derek Miller on February 12.
The competitive process of being admitted into VES classes often presents an obstacle for prospective concentrators, who are frequently unable to take classes in the department until their sophomore year.
Pieces in the exhibit range from a series of long basketball nets cut and re-knitted by children to an interactive installation in which attendees are presented with a collection of audio clips reflecting on the “War on the Poor.”
Gustav Klimt's "Portrait of Adele Bloch-Bauer I," which was seized by the Nazis after its owner left Austria in the wake of the Anschluss.
The mural sustained damage during the war when the building in which it was housed was bombed.
The iconic Renaissance sculpture was encased in bricks during the war to help shield it from damage.
This sculpture was smuggled out of Belgium by German soldiers during WWII.
The altarpiece suffered significant damage after being stored in a salt mine during the war.