CCS Bard Hessel Museum of Art Presents “If You Lived Here, You’d Be Home By Now”June 13, 2011
An Exhibition Co-curated by Josiah McElheny, Tom Eccles, and Lynne Cooke, on View June 25 Through December 16
ANNANDALE-ON-HUDSON, N.Y.– This summer, the Center for Curatorial Studies at Bard College (CCS Bard) presents If you lived here, you’d be home by now, an exhibition about the life of the art object in domestic spaces. Co-curated by artist Josiah McElheny, CCS Bard Executive Director Tom Eccles, and Dia Art Foundation Curator-at-Large Lynne Cooke, the exhibition offers visitors to the museum a unique opportunity to view artworks from the vantage point of historically important furniture and seating arrangements. Conceived as a complement to Blinky Palermo: Retrospective 1964-1977 (concurrently on view in the adjacent CCS Bard Galleries and at Dia:Beacon), it includes a number of new site-specific works by New York-based artist McElheny. These wall works draw upon the legacy of Palermo, an important German artist who often worked within domestic or formerly domestic spaces.
If you lived here, you’d be home by now presents a number of works on loan from Marieluise Hessel’s private collection—works which she has lived with over a number of years—including paintings and sculpture by Gerhard Richter, Sigmar Polke, Agnes Martin, Louise Bourgeois, Carl Andre, and Dan Flavin. Hessel’s engagement with contemporary art began in the mid-Sixties in Munich, Germany, where she first encountered (and collected) the work of Palermo and his contemporaries. A number of these early acquisitions are on public view here for the first time. Also included in the exhibition are a series of recent additions to the Hessel Collection, which is housed at the Center for Curatorial Studies. These works by Chantal Ackerman, RH Quaytman, Moyra Davey, Saul Fletcher, Jason Simon, Michel Auder and others, highlight notions of intimacy and raise issues of privacy, obsession, and how we experience both interior spaces and our inner lives.
If you lived here, you’d be home by now is also an investigation of how an exhibition contextualizes objects within a given space, and how new meanings for objects are produced by the vantage points from which we experience them. The exhibition is based on a series of inversions and infiltrations: from transposing how the work of art is viewed in a collector’s private home into a public space to physically shifting and personalizing the sometimes passive viewing experience of a museum; from recreating aspects of the domestic interior to choosing artworks that speak about the psychic interior to new works that intentionally blur the relationship between abstraction and décor. In this vein, the Hessel Museum’s architecture has been reconfigured to echo a series of domestic settings; various galleries have been converted into spaces that suggest a living room, bedroom, dining room, hallway, vestibule, and library or study.
Significantly, the exhibition does not present the viewer with a series of period rooms; instead, visitors are invited to use or inhabit examples of relatively unique domestic furniture while they look at the art on display, an interactive opportunity virtually unheard of in a museum setting. Here they can sit and relax in the Hessel Museum’s public spaces that are now furnished with important designs by R.M. Schindler, Frederick Kiesler, Jean Prouvé, Paul Evans, and Charlotte Perriand, among others. Kiesler’s historic chairs, the Correalist Instrument and the Correalistic Rocker—designed specifically for looking at paintings in Peggy Guggenheim’s gallery/museum Art of this Century in 1942— are available for use, as is R.M. Schindler’s “King Road’s” series—Sofa and two Sling Chairs, designed in 1922 for his private residence in Los Angeles and later reconstructed by Donald Judd for looking at painting in one of Judd’s environments in Marfa, Texas.
A sleek table and subtle desk lamp by Perriand forms a horizon from which to view a series of drawings on shelves; making reference to Hessel’s installation of drawings in her own private study. Elsewhere in the exhibit, the historical suppression of Perriand’s authorship is acknowledged in another recent acquisition for the Hessel collection: Josiah McElheny’s sculpture Charlotte Perriand (and Carlo Scarpa), “Blue” (2010) consists of hand-blown glass on polished lacquer paint shelves, shelves which are not by Prouvé, as some might mistakenly claim but rather of Perriand’s own design.
Paul Evans’ limited edition “Cityscape Bed” and “Side Tables” of patchwork chrome form the bedroom landscape, where the viewer can lounge on the bed to view Gerhard Richter’s 1965 painting of a pillow entitled “Kissen”, just as Ms. Hessel has done in her own home. Also included are well-known designs still in regular production, such as Prouvé’s “Standard Chair,” and the classic leather tubular steel LC7 Swivel Chair designed by Perriand in collaboration with Le Corbusier and Pierre Jeanneret.
In addition to these examples of production furniture, the exhibition includes John Chamberlain’s “Thordis’ Barge” (1980-81) on loan from the Dia collection. Visitors are encouraged to lounge on this enormous foam and fabric-covered couch while watching Chantal Akerman’s “Dans le miroir”, one of her earliest 16mm films from 1971, here showing a young woman critically questioning her own body while viewing herself in a mirror.
On view in the museum’s large center gallery are artworks by Valerie Jaudon, Jaqueline Humphries, Andrea Zittel, Rosmarie Trockel, and Roni Horn’s two-part photographic installation, This is Me, This is You (1999-2000). For Horn’s work (and for others in the exhibition), McElheny has “re-designed” and built Donald Judd-like furniture from which to view this specific artwork. Titled “Temporary Platform for Roni Horn (After Donald Judd)” and constructed out of “engineered lumber,” this double-sided couch or bed is based upon some unusual furniture that Judd built for his personal use in his home and studio in Marfa, Texas. Surprisingly, he designed and constructed a few pieces of furniture for the express purpose of looking at other art while using them. Here, McElheny’s temporary, rough constructions are built with specific artworks from the Hessel Collection in mind, providing the visitor with a chance to experience a version of Judd’s remarkable and little known practice of utilizing furniture as a “platform” for viewing art.
Occupying a second large gallery is the other major loan to the exhibition, Franz West’s Echolalia” (2010) from the Amalia Dayan and Adam Lindemann collection, an enormous installation of seven sculptures on dolly wheels which can be repositioned by the viewer and is accompanied by a couch, chair, and love seat built by West. From these perches, the visitor can survey the results of their “play” with the sculpture, as well as four important paintings by Christopher Wool from the Hessel Collection.
For this exhibition, McElheny participates not only as curatorial collaborator, but also as an artist. He stages a number of interventions in the galleries, wall paintings and drawings that investigate ways of “remembering” or perhaps even “collaborating” with Blinky Palermo. In the process of creating these works, McElheny has attempted to inhabit the working methods of Palermo—as he has done earlier with the work of Allan Kaprow— responding to space, place, and cultural situation today, all the while interpreting the logic of specific, historic temporary wall works executed by Palermo from the late Sixties and early Seventies.
Cross-referencing, both explicit and implicit, is also present in the exhibition’s title. The title of the exhibition makes reference to Martha Rosler’s ground- breaking three-part project for the Dia Art Foundation in 1989 (If you lived here), which, in a different vein, addressed homelessness and housing, as well as architecture and planning, in New York City and elsewhere.
Also exhibited in the galleries are a series of three-dimensional molded abstract objects that McElheny has created, inspired by four specific two-dimensional shapes that Palermo returned to repeatedly.
In spring 2012, CCS Bard will publish a book connected to the exhibition, constructed as a broad “reader,” that will be edited by Lynne Cooke, Josiah McElheny, and Johanna Burton (Director of the CCS Bard Graduate Program). This volume will take up the expanded context of the exhibition and include new and reprinted essays on the themes of intimacy and interiority.
Free transportation on a chartered bus is available to the opening reception on June 25 from New York City. For details and reservations, please call CCS Bard at 845-758-7598 or write email@example.com.
Josiah McElheny is an artist living and working in New York. He has exhibited and published widely, with projects including recent solo museum shows at the The Museo Nacional Centro de Arte Reina Sofía, Madrid (2009), Henry Art Gallery, Seattle (2008), Moderna Museet, Stockholm (2007), and MoMA, New York (2007) and two new books, which came out in 2010, “The Light Club” published by University of Chicago Press, and “Josiah McElheny: A Prism” by Rizzoli. In 2006, he was the recipient of a MacArthur Fellowship. Last summer at Andrea Rosen Gallery, McElheny curated Crystalline Architecture, which began with the question: is it possible for a particular aesthetic form or structure to express both abstract concepts and political ideals?
Tom Eccles has been Executive Director of CCS Bard since July 2005. Previous to joining CCS Bard, he was director of New York City’s Public Art Fund for over 9 years. At the Public Art Fund, Eccles worked with artists to bring innovative large-scale public art projects to the New York community, providing unprecedented opportunities for the city to encounter artworks as part of their daily lives. Since joining Bard, Eccles has extended his practice of “putting art and artists first” into the context of a physical museum, frequently inviting artists to curate the permanent collection in inventive ways that highlight their own practice and push the boundaries of what an exhibition can be, with projects such as Martin Creed’s 2007 FEELINGS; Rachel Harrison’s 2009 Consider the Lobster; and the accompanying And Other Essays, in which a group of five invited artists—Tom Burr, Alix Lambert, Alan Ruppersberg, Nayland Blake, and Andrea Zittel—curated works from the collection paired with their own; and many others. Eccles also commissioned renowned Danish/Icelandic artist Olafur Eliasson’s The parliament of reality in 2009, the first major outdoor permanent installation by the artist in the United States. Also in 2009, he curated Ernesto Neto’s anthropodino at the Park Avenue Armory and As Long As It Lasts, a group exhibition at Marian Goodman Gallery (both in New York).
Lynne Cooke was appointed Chief Curator and Deputy Director of the Museo Nacional Centro de Arte Reina Sofía, Madrid, in 2008. For more than a decade, Cooke’s exhibitions, essays, and other projects have been a vital force in the contemporary art world. Since 1991, she has been curator at Dia Art Foundation in New York. Cocurator of the 1991 Carnegie International and artistic director of the 1996 Sydney Biennial, she has curated exhibitions in numerous venues in the United States, Europe, and elsewhere. Cooke has taught at the Center for Curatorial Studies, Bard College, and has been a visiting lecturer in the graduate fine art departments of Yale University, Columbia University, and many other schools. In 2000 she received the Independent Curators International Agnes Gund Curatorial Award. Among her numerous publications are recent essays on the works of Francis Alÿs, Rodney Graham, Zoe Leonard, Agnes Martin, Diana Thater, Blinky Palermo, Jorge Pardo, and Richard Serra.
The Center for Curatorial Studies and Hessel Museum of Art at Bard College
The Center for Curatorial Studies at Bard College (CCS Bard) is an exhibition, education, and research center dedicated to the study of art and curatorial practices from the 1960s to the present day. In addition to the CCS Bard Galleries and Hessel Museum of Art, the Center houses the Marieluise Hessel Collection, as well as an extensive library and curatorial archives that are accessible to the public. The Center’s two-year M.A. program in curatorial studies is specifically designed to deepen students’ understanding of the intellectual and practical tasks of curating contemporary art. Exhibitions are presented year-round in the CCS Bard Galleries and Hessel Museum of Art, providing students with the opportunity to work with world-renowned artists and curators. The exhibition program and the Hessel Collection also serve as the basis for a wide range of public programs and activities exploring art and its role in contemporary society.
For further information, call 845-758-7598, e-mail firstname.lastname@example.org, or visit www.bard.edu/ccs.
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