CCS Bard Announces 2012 Spring Exhibitions and Projects

March 18, 2012

14 Exhibitions and Projects Curated by CCS Bard Master’s Degree Candidates

Featuring the work of more than 25 major international and emerging contemporary artists including Tony Oursler, Kiki Smith, Jutta Koether, Aki Sasamoto and Simon Fujiwara, among others

Group One: On view March 18 – April 15, 2012 in the CCS Bard Galleries

Group Two: On view April 29 – May 27, 2012 in the CCS Bard Galleries

ANNANDALE-ON-HUDSON, NY, March 2, 2012 The Center for Curatorial Studies at Bard College (CCS Bard) has announced details on its spring exhibitions and projects, the annual exhibition series showcasing the curatorial work of CCS Bard master’s degree candidates. The presentation will include 14 solo and group exhibitions and projects featuring the work of more than 25 established and emerging contemporary artists working in a variety of media.

This presentation is part of CCS Bard’s lineup of exhibitions and events taking place during, and celebrating, its 20th anniversary year. CCS Bard opened its doors in 1992 and has had some of the world’s most important contemporary art curators through its program. The spring exhibitions and projects feature the work of a new generation of curators, and exemplify the high caliber of curatorial practice that continues to be realized at CCS Bard. Exhibition themes range from the mysteries of the human memory and psyche, to notions of storytelling, humanity, and spirituality, while artistic media varies from performance, multi-media installations and sculpture, to painting and drawing.

The spring exhibitions and projects will be presented in two separate groups, with the first on view from March 18 through April 15, 2012. Curated by CCS Bard graduate students Janine Armin, Theresa Choi, Rachel Cook, Suzy M. Halajian, Clara Halpern, Alicia Ritson, and Anastasia Rygle, these exhibitions will feature the work of artists including Tony Oursler, Lygia Clark, Kiki Smith, Simon Fujiwara, and Ray Johnson, among others. The opening reception will take place on Sunday, March 18 from 1:00-4:00 p.m.

The second group of exhibitions will be on view from April 29 through May 27, 2012, with an opening reception taking place on Sunday, April 29 from 1:00-4:00 p.m. Curated by CCS Bard graduate students Helga Just Christoffersen, Jenny Jaskey, Leora Morinis, Andrew Rebatta, Robin Selk, Agatha Wara, and Amy Zion, these exhibitions will feature the work of artists including Jutta Koether, Aki Sasamoto, Agnes Martin, Maria Chavez, Joachim Koester, and Janice Kerbel.

Student-curated exhibitions and projects at CCS Bard are made possible with support from the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Audrey and Sydney Irmas Charitable Foundation; the Robert Mapplethorpe Foundation; the Board of Governors of the Center for Curatorial Studies; and by the Center’s Patrons, Supporters and Friends. Additional support has been provided by the Monique Beudert Award Fund.

The CCS Bard Galleries and Hessel Museum of Art at Bard College are open Wednesday through Sunday from 1:00 to 5:00 p.m. All CCS Bard exhibitions and public programs are free and open to the public. Limited free seating is available on a chartered bus from  New York City for the March 18 and April 29 openings. Reservations are required; call +1 845-758-7598 or email

About the Center for Curatorial Studies

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.

The Center for Curatorial Studies at Bard College opened its doors in 1992. Celebrating its 20th Anniversary in 2012, CCS Bard will present a series of exhibitions by students as well as a roster of international artists working in a range of practices.

General information on the Center for Curatorial Studies at Bard College can be found on its newly re-launched website at:


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For further information, images or to arrange interviews, please contact:

Elizabeth Reina-Longoria or Deirdre Maher             

Blue Medium                                                             

Tel: +1 (212) 675-1800

E: or

Press Contact:
Mark Primoff

CCS Bard Contact:
Ramona Rosenberg


CCS Bard Spring Exhibitions and Projects, Group One

March 18 – April 15, 2012

CCS Bard Galleries, Annandale-on-Hudson


Swells as it Advances

Artists: Sung Hwan Kim and Myriam Yates

Curator: Janine Armin

“Different intensities of memory charge certain moments to the surface while forcing others to fall back. The work of Sung Hwan Kim and Myriam Yates maps the shifting magnitude of memory, and the disruption inherent to its repetition. As a time-based practice, a publication performatively enacts other scenes of spectatorship, as supplement to the exhibition’s temporal register. Operating with or even against both artworks and the exhibition space, it swells other durations.

The works in the exhibition include Amphithéâtre (2010), Yates’ diptych film, which shows a preternatural racetrack slated for demolition alongside stables where horses still reside; and Racetrack-Superstar-Ghost (2011), which follows the construction of a U2 bandstand on the same grounds, complicating the site’s various streams of memory. Alongside these is Kim’s fictional documentary, Summer Days in Keijo-written in 1937 (2007), based on a travelogue written by a Swedish zoologist 70 years before, when Seoul was called Keijo under Japanese rule. This recapitulated journey is made contemporary to the building projects of the 1960s, themselves vulnerable to redevelopment in the present. In visiting alternate temporalities, the documentary complicates the nature of our return, making available a narrative whose arc and place is entangled with those of others.”

– Janine Armin



Artists: Peter Hutton, Tony Oursler, Olivia Plender, and Kiki Smith

Curator: Theresa Choi

“Summerland is the name given to the spirit realm by spiritualists, a religious movement that began in the 1840s in the Hudson Valley and upstate New York and is still practiced today. Central to Summerland, the exhibition, is the legacy of certain religious and spiritual movements which are inscribed in the geographic region surrounding Bard College. By linking the past with the present, various artistic perspectives will materialize a contemporary narrative based on research into regional histories and traditions which have been largely ignored by mainstream culture.”

– Theresa Choi


Three Evidentiary Claims

Artists: Erin Shirreff, Lesley Vance, and Michael Jones McKean

Curator: Rachel Cook

“What do we think of the state of indeterminacy that images and objects now occupy¾ their status not fixed, but vacillating between various media, functions, and cultural contexts? In this state of indeterminacy, images and objects are intrinsically bound to and possibly vexed by one another. Three Evidentiary Claims examines the relationship between images and objects, and presents a set of possibilities for how we might talk, think, and read these distinct and hybrid mediums of photography and sculpture. How does the material form that makes up an artwork affect our relationship to images, objects, and possibly one another? The exhibition triangulates the site of the gallery, a panel discussion, and a broadsheet style publication, all of which bring the idea of indeterminacy into a particular frame to consider the problem of creating meaning within artworks.” – Rachel Cook


These are not obligations but I want to (a response in two parts)

Artists: Simon Fujiwara and Dawn Kasper

Curator: Suzy M. Halajian

“In These are not obligations but I want to (a response in two parts) artists Simon Fujiwara and Dawn Kasper respond to the specific site of the CCS Bard Galleries, offering their own performative interpretations of what it means to exhibit in the staged museum environment. Taking the curatorial invitation at his starting point, Simon Fujiwara presents a story that weaves together themes of public and private space in relation to the human voice. Dawn Kasper performs a physical intervention in the space, and with the aid of props, video, and musical equipment, she transforms the gallery by creating a sound sculpture that illustrates an investigation into human consciousness. This theatrical space is activated through the energy of the environment, determined by the audience that enters the scene during the multiple performances, which start opening night and run throughout the length of the exhibition. In pairing these commissions, the project presents two disparate artistic practices that both use theatrical strategies at the forefront of their investigation, and position the everyday as a site of inquiry. Both Fujiwara’s and Kasper’s works expose hidden realities through an engagement with personal storytelling that plays with narrative structures and shifts in fictionalized characters and personas. As such, the setting or everyday exhibition scene of the CCS Bard Galleries will be further complicated by artists who challenge the contours of their hosting institutions by letting their constructed tellings create new truths, ones which offer the audience an alternative frame through which to read the story.”

– Suzy M. Halajian


The Center for Short-Lived Phenomena

Artists: Nina Katchadourian, Swintak, and Danna Vajda

Curator: Clara Halpern

“This project establishes a provisional para-institution situated inside and alongside CCS Bard for one month. Institutions are shaped by – and in turn, propose – particular notions of time.  As a test-site, it takes up time in a way that could fall behind, outrun, or collide with its host institution. Katchadourian’s series of images made in transit improvise with materials close at hand under the time constraints of air travel. Vajda, who frequently works with performative readings and scripts her use of objects, images, and situations, reflexively takes up the embodiment and lifespan of an institution. In her art practice, Swintak often initiates experimental or impossible projects, and her multimedia installation responds to the context of an institution that claims a curiously short existence.

The original Center for Short-Lived Phenomena (1968-1974), from which this project borrows its title, was a branch of the Smithsonian that addressed a broad range of events, such as volcanic eruptions, meteorite impacts, and floating islands. These unusual scientific concerns were spontaneous and of limited duration, which made it necessary for this small institution to operate with a different approach to time then its larger host institution. The center emphasized that the study of short-term transient occurrences had the potential to shift accepted knowledge of stable long-term processes.”

– Clara Halpern


A Sudden, Sharp, Hot Stink of Fox

Artists: Lygia Clark, Trisha Donnelly, Carolee Schneemann, and Rosemarie Trockel

Curator: Alicia Ritson

“A Sudden, Sharp, Hot Stink of Fox revolves around encounters with the animal in works by Lygia Clark, Trisha Donnelly, Carolee Schneemann, and Rosemarie Trockel. While these artists handle their subject in distinct ways, they nevertheless share interests in non-verbal modes of communication and inaccessible forms of knowledge, seeking both to invite and offer an experience of animality. In particular, their works invoke the affective capacities of the animal, seeking to create unexpected possibilities for human engagement in turn. Through enactments and depictions of contact with animals, with individuals touching, rolling around, kissing, mirroring, and attempting to converse with these beings, the artists ultimately disclose a tangling of relations between what we take for granted as either animal or human. Hot Stink of Fox is the ecstatic complication of being.” – Alicia Ritson


Ray Johnson: The Dover Street Years 1953-1960

Artist: Ray Johnson

Curator: Anastasia Rygle

“Ray Johnson: The Dover Street Years provides the occasion for a new understanding and appreciation of the artist’s most significant early achievements. Composed of nearly 40 works, the exhibition will present a selection of collages from the years 1953-1960 when Johnson lived and worked at 2 Dover Street in Lower Manhattan.   

American artist Ray Johnson (1927-1995) played a central role in the development and critique of American aesthetics in the 1950s.  Prior to the advent of his New York Correspondance School and related mail art activities for which he is best known, Johnson produced a large body of experimental work through which he tested the boundaries of modernism.  Termed “moticos” by Johnson himself, these works have been rarely seen, generally overlooked, and often misunderstood. The quality of the existent early work from the 1950s is truly extraordinary and represents a significant contribution to the field of art history. No exhibition to date has focused exclusively on this period of his work.” – Anastasia Rygle



CCS Bard Spring Exhibitions and Projects, Group Two

April 29 – May 27, 2012

CCS Bard Galleries, Annandale-on-Hudson



Practice Revised

Curator: Helga Just Christoffersen

“Practice Revised is a project in four parts:

  • An insert in Mousse magazine #33
  • A Symposium
  • The implementation of The Artist PhD Field Library within the CCS Library
  • A letter of intent to the President of Bard College, to propose founding the first experimental artist PhD program in the U.S. at Bard. 

Reflecting the current discussions around the artist PhD in the U.S., this project defends the potentials of a practice-based artist PhD. The publication and symposium will revisit suspicions regarding the degree as yet another marketable must-have, and address recent shifts in the field of art education. Meanwhile, The Artist PhD Field Library (developed with artist Tim Ridlen) will permanently insert materials on the artist PhD within the collection of the CCS Library, and implicitly contends that the artist PhD is a relevant subject of engagement for curatorial practice.

In essence, the project questions the customized curatorial attention span and points to the university’s increasing importance as a site for artistic production and presentation. It is a call for curators to engage with the history of art education and imagine not only art works but also art subjects worthy of enquiry. To say the least, the questions raised by the artist PhD – the nature and value of artistic processes, the methodologies of artistic research and their potential within new institutional structures – should be considered important for contemporary curating as well.”  – Helga Just Christoffersen


Mad Garland

Artist: Jutta Koether

Curator: Jenny Jaskey

“For the past two years, Jutta Koether has been working with the garland. Since antiquity, its snaking motif has emboldened ritual and decor: garlands drape coffins, envelop ceremonial objects, and accompany Dionysian intoxication.  They adorn passageways and illuminate sacred manuscripts. Garlands are borderline figures that perpetuate sensation. In her paintings, Koether offers the garland as an affective trigger — a structuring device that recasts vision as material force.

The Center for Curatorial Studies, Bard College will host test works for Mad
Garland in its galleries.  The exhibition will be accompanied by the launch of a new a publication edited by Jutta Koether and curator Jenny Jaskey.” – Jenny Jaskey



Artists: Aki Sasamoto and Agnes Martin 

Curator: Leora Morinis

“Although metaphor is premised on encounter—bearing meaning across and between things—it is far from a de facto celebration of intersubjectivity. With that in mind, “A LIKENESS…” takes as its starting point the idea that metaphors lay bare the complexities of contact: that they spotlight the affective and aesthetic dynamics between things, the politics of irreducible yet codependent relationships, and the various desires and forces—not necessarily reciprocal—that bring connections to bear in the first place. Indeed, the exhibition aims to function similarly—contending with the curatorial and interpretive challenges of bringing together two distinct artists’ work, and seeking out the ways in which the resultant relationships incite friction and provoke new capacities in the space and within each artwork.

By using behavior, encounter and narrative as materials, Aki Sasamoto’s performances and installations tread a rocky and virile affective landscape that delimits and produces experience. Her work creates contingent meanings and relationships that—like metaphors—are at once deformations and revelations. Landscape and relationship also figure centrally in Agnes Martin’s film, ‘Gabriel,’ wherein horizon lines and various juxtapositions serve to both pressure the limits of connection and comprehension, and explore notions of embodied vision and lateral tension—reckoning with both resemblance and incommensurability.


Aki Sasamoto begins her piece, “Amoeba vs. My Muscle,” by pestling out mochi in an oversized wooden mortar; Martin’s ‘Gabriel,’(1976) will be projected on loop nearby.”

 Leora Morinis


The myth is neither bad nor good, its potentials are unlimited

Artist: Donna Huanca

Curator: Andrew Rebatta

“El Saturn Records’ founder Alton Abraham’s notebook sketches of an imaginary, multi-leveled El Saturn Cosmic Research Center – with an ‘El Saturn Wisdom Research Culture Art Foundation’ and ‘Sound Department’ – hold a special place in Afrofuturism’s history of sonic experiments. This exhibition was conceived with a speculative premise: what if the Center had actually come to fruition and continued to operate in our present context? Invited to contribute work to this imaginary site as a ‘sound scientist’ is multidisciplinary artist Donna Huanca. She will create a sonic-installation testing the potential of her sound-based art practice and subjective investigations into her Incan-Andean ancestry. If El Saturn offered a relation between myth-science, counter-narratives and ideas of self-determination, Huanca takes up this relation in the context of sound technology and the gallery space. As a site for this interdisciplinary investigation, the gallery offers a dialogue between Huanca’s longstanding interest in the psychology of genetic memory, and the diasporic effects of heritage and ancestry. While the installation quotes histories of ethnographic display, sound will interrupt the temporal sequence of objects, creating a fragmented experience, but also producing alternate channels of narrative production and movement within the exhibition space. Stemming from explorations into national origins and feelings of cultural displacement, Huanca engages with cultural imaginaries and myths that for her are both present and absent. As Sun Ra once said, ‘The myth is neither bad nor good, its potentials are unlimited.’” – Andrew Rebatta


Reverse Desertification

Artists: Joachim Koester and Janice Kerbel

Curator: Robin Selk

“The often undervalued Western genre, particularly its tropes of dreaming and the frontier, offers telling insight into the American psyche. While fluctuating in popularity, the genre has consistently parodied the cultural attitudes, historical circumstances and current events of its time. In the 1960s, ongoing wars, American imperialism, the space race, and the rise of a counterculture interested in exploring the periphery and psychedelic drugs, heralded a renewed interest in the Western. Its ideas for expansion into purportedly new spaces and experiences and themes of birth and renewal, became relevant for those seeking altered consciousness and alternative community building.

The works presented in this exhibition touch upon this mythology of the West as a space of madness or altered consciousness. By drawing on works that look at the impact of the counterculture on the space of the west and the notion of the frontier, the exhibition considers the function of psychedelia within modern western narratives.” – Robin Selk


Katja Novitskova and Timur Si-Qin

Artists: Katja Novitskova and Timur Si-Qin 

Curator: Agatha Wara

“In 2009, when discussing the current function and potentials for contemporary art criticism, theorist Diedrich Diederichsen argued for the voice of “emergent people,” the voice of those who have recently arrived “in an already finished world of objects.” Such a world is founded on distinctions between images, signs, and the real, a world in which nature and technology belong to separate realms. As “emergent” subjects, artists Katja Novitskova and Timur Si-Qin pursue their own desires in order to formulate a new notion of art — a notion that fundamentally rejects the separation between art and reality, and instead argues for an evolutionary ontology that charts structural tendencies, patterns, and flows across disparate domains. Novitskova and Si-Qin present images, objects, and essays that will elucidate a new relationship to art, one in which information merges into matter, the biological merges with the cultural, and local specificity blends into the planetary.” – Agatha Wara


Damnatio Memoriae

Artists: Danh Vo with Julie Ault and James Benning

Curator: Amy Zion

“Woe to him who says to the wood, ‘Awaken!’; to the dumb stone, ‘Arise!’ Shall it teach? Behold it is overlaid with gold and silver, and no spirit is within it.

Let us cite an example to clarify what we are saying: when a tyrant is cut down, his portraits and statues are also deposed; then only the face is changed and the head removed, and the face of the victor is placed on top so that the body remains, and another head is substituted for those that have been removed.” – Amy Zion