Harvard University Gazette December 4-10, 2008 - Harvard News ...

34/ Harvard University Gazette December 4-10, 2008
Rosalind Chait Barnett receives HGSE’s Anne Roe Award
Rosalind Chait Barnett, director of the Community,
Families & Work Program at Brandeis University, received
the 2008 Anne Roe Award from the Harvard
Graduate School of Education (HGSE) on Nov. 17. The biennial
award was established in 1979 to honor Anne Roe,
the first woman tenured at Harvard in, 1963, and also a
leading researcher on career development and women.
In presenting the award to Barnett, HGSE Dean
Kathleen McCartney said, “Rosalind Barnett has played
an extraordinary role in dispelling conventional ‘wisdoms’
about the capability and capacity of girls and
women. Her rigorous research has challenged some of
our culture’s most entrenched and harmful gender
stereotypes.”
Barnett’s lecture, titled “Women’s Journey Toward
Equality: Where We Are and the Path Ahead,” focused on
how traditional gender roles are relaxing.
“Women’s lives today are dramatically different
[from] those of their mothers and grandmothers,” Barnett
said. “Women are making choices that will prepare
them for longer lives, significant labor force participation
with marriage and children, knowing that they are
contributing to their own economic well-being, getting
more education, and proving themselves in well-paying
employment.”
Barnett has published numerous articles and seven
books, including the “Same Difference: How Gender
Myths Are Hurting Our Relationships, Our Children, and
Our Jobs,” (Basic Books, 2005) co-authored with Caryl
Rivers. Additionally, Barnett is currently collaborating
with the Harvard School of Public Health, and Catalyst
and Work/Family Directions on various research projects.
Art
(Continued from page 18)
are by Boris Sveshnikov, who worked
primarily with pen on paper while incarcerated
as a political prisoner in the
Gulag. “Almost no visual records of the
Gulag have survived, making Sveshnikov’s
art all the more important,”
says Katsnelson. “While images documenting
the Holocaust or the mushroom
cloud over Hiroshima are immediately
recognizable, no similar representation
of the Gulag exists.”
Another artist whose work will be
exhibited, Eugeny Rukhin, died in a fire
in his studio at the age of 32. The cause
of the fire is unknown, but it is suspected
that the KGB played a role, reacting
to Rukhin’s close ties to foreigners
such as Dodge.
Many of the smuggled works date
from the 1960s, during Khrushchev’s
“thaw,” explains Katsnelson. At this
time, Soviet artists were first exposed
to recent Western art, as well as to
Russian works from the early part of
the 20th century, which had been previously
banned in their own country.
Despite a softening of the political
landscape, nonconformist artists’
work during this period was still illegal,
and, if discovered, would have been destroyed.
By buying this art directly from
the artist, without a receipt
so that there was no
record of the transaction,
Dodge offered the
artists a possible audience
for their work. Interest
in nonconformist
art has been relatively
rare in the West, although
recently it has
gained more attention.
Among the more prominent
artists whose works
will be on show at the
Davis Center are Boris
Mikhailov, Mikhail Chemiakin,
and Ernst Neizvestny.
The exhibition is organized
in conjunction
with the Davis Center’s
60th anniversary, an occasion
for reflecting on
the past and anticipating
the future of Russian and
Eurasian studies. “In the
Western world, freedom
of expression is often taken for granted,” says Katsnelson.
“We forget that art, although ephemeral,
can speak truth to power.”
Yuri Rybchinsky’s ‘Untitled,’ from the series ‘Correctional Colony,’ 1978.
© 2008 Artists Rights Society (ARS), New York/ADAGP, Paris
Oscar Rabin’s ‘Untitled,’ 1969 (above). Boris Smelov’s
‘Nickel Soup Tureen,’ 1972 (right).
amy_lavoie@harvard.edu