Harvard-Radcliffe Class of 1972

Judith Seligson

Signs of Struggle (July 13, 2016). Oil on multiple panels, 9 x 9 x 1.5 inches

I date most paintings by the day. Each is like a journal entry, a record of an experience. The title Signs of Struggle is a joke (with myself). It is a term used by the coroner on CSI and other police procedurals. Signs of struggle on the victim indicate murder. I’m not sure how visible the signs of struggle are in this painting, but they are clear in my memory.

Frank Veteran

Pastel Mountains, Iceland (2012). Photograph.

Bernard Peyton

Bear Protector of the Mountain (2002). Origami figure, 32 inches tall. Folded from one wet square, 44 inches wide, of 300-lb.-weight Arches,
colored with ink on one side and charcoal on the other. 

David Mitchell

Secretary (2020). My “art” is woodworking. This secretary is based on one made in Philadelphia in the eighteenth century. Two twists with this one are, first, that the top is open, rather than having doors, for display purposes, and, second, that the wood, rather than mahogany, cherry, or maple, is simple knotty pine—not a wood typically seen in fine furniture. All dovetails were cut with hand tools. The gooseneck molding had to be partially hand-carved.

David Leeds

Mother and Child Reunion (2021). Calcite, 30 x 10 x 18 inches
This piece is a testament to felicity in art. I had planned a different kind of idea, but the calcite broke in two as I was working on it, so I just went with it. The result was much better than what I had initially intended. All kinds of stone have interior faults to some degree. Working with stone teaches you to not be so attached to your preconceived ideas. A lesson that is also so valid for life.

Peter Fox

She's Leaving Home
I used found objects for this piece, which is 4 x 6 inches. It is a cover board from an old book, together with several pieces from my stash. I made it a few years ago for my brother Dan, whose oldest daughter was leaving for college, as a memento of that poignant day. Although she's flown the nest, the cosmic eyes will hopefully watch over her.

Matt Witt

Madrone Bark in Winter Rain. Photograph. 
This photograph was taken on the winter solstice of 2015. With my "closer to nature" approach to photography, I try to focus in on specific details in unusual ways and create uncluttered images to show nature's beauty with fresh eyes. See more of my work at MattWittPhotography.com.

Thomas Whittemore

My illustrations and cartoons have appeared in the Hyde Park (IL) Herald, the Seattle Weekly, the Everett (WA) Herald, and the Seattle Times.

Debby Smullyan

Ocean Waves (2003–2021). Quilt. 
Ocean Waves is a traditional Amish quilt pattern (that is, made from all solid, bold colors of fabric and no prints). I put this project down the day I started working in the Class Report Office in 2003 and didn't pick it back up until I retired this spring! The black-on-black hand-quilting is a challenge.

Frank Campion

Semliki (2020). Acrylic on canvas, 88 x 44 inches. This is part of a larger series entitled Chasm, Canyons, and Corridors. Initially I couldn't quite get why I was so entranced with the vertical format, but one day my wife reminded me I grew up in New York City. Makes perfect sense.This was done shortly after a trip to Uganda. The African landscape had a profound impact on my color palette—and, really, color is the major mover in my work.

Fred Gevalt

A photo of the oil refinery and harbor in my 1:160 model city at night. After I sold my business and retired, it occurred to me that it might be fun to get back into architectural modeling for some of the Boston firms, since this was one of my strong suits at the GSD (M.Arch. ’75). Of course, then I discovered that 3D printing had taken over this art. So I built a model railroad for myself! A very satisfying project during the pandemic.

Naomi Lev

Bird's-Eye View. Woodcut. 
This piece was part of Naomi's show, Layers of the Land, at the Mass Audubon Habitat Wildlife Sanctuary in Belmont in February 2022.

Steve Peterman

Three TV scripts from the shows I was on the longest: Murphy Brown, Suddenly Susan, and Hannah Montana. I've never added up all the scripts I've either written solo or had a hand in as executive producer, but it's well over three hundred. (Click on thumbnaiil for full image.)

Dan Droz

Reunion (2021). Enamel on aluminum, 80 x 42 x 33 inches
A recent installation in the Pittsburgh International Airport—you'll find it at the top entrance of the terminal.

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Dona Aitken

Walnut Platter
Since retiring I've had a small business as a wood artisan. I make things like wooden lanterns, serving trays, and kleenex box covers with marquetry designs on them; also wood-turnings, such as bowls, vases and lamps, some with pyrographic enhancements.

Lorraine Chickering

Purple Mountains Majesty. Photograph.
 

Anne B. Rogers

Da Vinci's Horse (2014). Made in clay, then cast in bronze.

Evelyn Pye

The Pond in Summer.  Oil on panel, 46.5 x 70 inches
 

Steve Bowman

New York Counterpoint. Spray paint on canvas, 12 x 12 inches

Jerry Fruetel

Canoe. Wood and canvas
My "art" is crafting traditional wood and canvas canoes. It involves cutting and steam-bending white cedar, ash, and cherry woods, covering the exterior with canvas, and finally sealing and painting the canvas and varnishing the interior.

Neil Martin

A drawing of my wife of nearly 48 years, Lisa Warsinger Martin ‘74. I drew it from a photograph I had taken of her during her freshman year, when I was a junior living in Briggs Hall. I made the drawing during my second year of medical school at Johns Hopkins, while Lisa was finishing her senior year at Harvard. We married June 23, soon after her graduation. I used a soft pencil and graphite dust with a fine camel hair brush on smooth paper.

Philip Banta

Aqua-Loggia. Oceanic pavilion and research facility. Yeosu Harbor, South Korea. Competition entry, 6,000 square meters
Basing it on the structure of the H₂O molecule, we designed a fluid envelope that rests upon three raised entry mounds to elevate the harborside facility above annual ocean surges from tsunami and coastal storms. The atomic shape cradles a multilevel, cross-ventilated exhibition and research hall protected by lateral sunshades with photovoltaics.

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