Art Historian Carrie Lambert-Beatty to Deliver CCS Bard’s Inaugural Brant Foundation Lecture February 15

February 8, 2017

“How Do You Know? Contemporary Art and the Politics of Knowledge.”

ANNANDALE-ON-HUDSON, N.Y.— Bard College’sCenter for Curatorial Studies (CCS Bard) will present the first in The Brant Foundation Lectures in Contemporary Art series with a lecture by art historian Carrie Lambert-Beatty, How Do You Know? Contemporary Art and the Politics of Knowledge.” The lecture takes place at 5 p.m. on Wednesday, February 15, in Weis Cinema, Bertelsmann Campus Center at Bard College. This lecture is made possible by the major grant given from The Brant Foundation to Bard College to support The Brant Foundation Fellowship in Contemporary Arts.
Carrie Lambert-Beatty is professor in the Department of History of Art and Architecture and the Department of Visual and Environmental Studies at Harvard University, and director of graduate studies for the Ph.D. in Film and Visual Studies. An art historian with a focus on art from the 1960s to the present, with a special interest in performance in an expanded sense, she is currently at work on a book for University of Chicago Press expanding on her 2009 October magazine essay “Make-Believe: Parafiction and Plausibility.” In the past decade, one of Lambert-Beatty’s chief research concerns has been the potential and limits of political art in contemporary practice, which she has explored through work on hybrids of art and activism such as Women on Waves and The Yes Men. Her essay on recuperation—both neurological and ideological—in the work of the art team Allora + Calzadilla accompanied their representation of the United States at the 2011 Venice Biennial. Her 2008 book Being Watched: Yvonne Rainer and the 1960s (MIT Press) is a study of the art of a signal member of the American avant-garde. Treating aesthetic issues such as minimalism, dance, documentation, and the problem of politics in Rainer’s work, the book is also driven by the problem of how artists responded, often at unconscious levels, to the burgeoning media culture of the 1960s. Being Watched was awarded the 2008 de la Torre prize for dance studies. Lambert-Beatty’s writing has also appeared in collections such as the Blackwell-Wiley volume exhibition catalogs including Dance/Draw and A Minimal Future? Art as Object 1958–1968 and journals such as Artforum, Art Journal, and Signs, as well as October magazine, of which she is an editor. Lambert-Beatty studied American and modern/contemporary art at Stanford University, receiving her Ph.D. in 2002. She was also a Critical Studies Fellow in the Whitney Independent Study Program in 199798. Her work has been supported by fellowships from the Getty Research Institute, Radcliffe Research Institute, and Du Bois Research Institute at the Hutchins Center for African and African-American Studies.
About The Brant Foundation
The Brant Foundation, Inc.’s mission is to promote education and appreciation of contemporary art and design by making works available to institutions and individuals for scholarly study, examination, and loan. Currently, The Brant Foundation, established in 1996, lends works to more than a dozen exhibitions per year. The Brant Foundation Art Study Center, designed by Richard Gluckman and located in Greenwich, CT, opened its doors in 2009 and presents long-term exhibitions curated primarily from the collection. The collection is remarkable in that scores of artists are represented in depth, including works from the earliest period of their practice through their most recent works. Additional information may be found on the Foundation’s website,
About the Center for Curatorial Studies
The Center for Curatorial Studies at Bard College (CCS Bard) was founded in 1990 as an exhibition and research center for the study of late 20th-century and contemporary art and culture and to explore experimental approaches to the presentation of these topics and their impact on our world. Since 1994, the Center for Curatorial Studies and its graduate program have provided one of the world’s most forward-thinking teaching and learning environments for the research and practice of contemporary art and curatorship. Broadly interdisciplinary, CCS Bard encourages students, faculty, and researchers to question the critical and political dimension of art, its mediation, and its social significance. CCS Bard cultivates innovative thinking, radical research, and new ways to challenge our understanding of the social and civic values of the visual arts. CCS Bard provides an intensive educational program alongside its public events, exhibitions, and publications, which collectively explore the critical potential of the institutions and practices of exhibition-making. It is uniquely positioned within the larger Center’s tripartite resources, which include the internationally renowned CCS Bard Library and Archives and the Hessel Museum of Art, with its rich permanent collection.


Founded in 1860, Bard College is a four-year residential college of the liberal arts and sciences located 90 miles north of New York City. With the addition of the Montgomery Place estate, Bard’s campus consists of nearly 1,000 park-like acres in the Hudson River Valley. It offers bachelor of arts, bachelor of science, and bachelor of music degrees, with majors in more than 40 academic programs; graduate degrees in 12 programs; nine early colleges; and numerous dual-degree programs nationally and internationally. Building on its 157-year history as a competitive and innovative undergraduate institution, Bard College has expanded its mission as a private institution acting in the public interest across the country and around the world to meet broader student needs and increase access to liberal arts education. The undergraduate program at our main campus in upstate New York has a reputation for scholarly excellence, a focus on the arts, and civic engagement. Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. For more information about Bard College, visit

Mark Primoff