2016 Spring Exhibitions : Chapter 1

April 3, 2016 - April 24, 2016
Hessel Museum of Art

Opening Reception: Sunday, April 3, 2016, 1 – 4 p.m.

Free chartered bus to and from New York City for the opening.  For reservations, call 845.758.7598, or write ccs@bard.edu

The Center for Curatorial Studies presents exhibitions and projects curated by second-year students in its graduate program in curatorial studies and contemporary art.  The students have organized these exhibition and projects as part of the requirements for the master of arts degree.

A Group of Fish and Other Schools
Organized by Benjamin Austin and featuring an exhibition of works from the Marieluise Hessel Collection co-curated by Evelyn Donnelly and Dana Gentile
Artists: Benjamin Austin, Andy Warhol, and selected artists from the Marieluise Hessel Collection

A Group of Fish and Other Schools provides an oblique portrait of a curator through strategies of presenting, representing, and dispersing this very figure. The aggregate image that is produced through the exhibition implicates CCS Bard in the proverbial curatorial fishbowl by asking: Who looks at whom and how do we learn by looking and selecting?

Doll’s Eyes and Dimetrodon Tears
Curated by Linden Baierl
Work by artists WhiteFeather Hunter and Jennifer Montgomery with still life photography by Robert Mapplethorpe and Hiroshi Sugimoto, an animal automaton, and archival materials from the Hartsdale Pet Cemetery

Doll’s Eyes and Dimetrodon Tears proposes a gentle stretching of life-death ontologies through a nexus of echoes between the animate and the inanimate, the human and the animal.

Emphasis Repeats*
Barbara Hammer, Andrea Geyer, Reina Gossett, and Alex Martinis Roe
Curated by Staci Bu Shea

What would it look like to practice affinity, to take care of the feelings, concepts, and forms that result from our relationship to those present and past? What if we considered affinity as integral to feminist methodologies?

Standard Forms
Artists: VALIE EXPORT, Felix Gonzalez-Torres, Francisco-Fernando Granados, Julio César Morales, Robert Morris, Ulrike Müller, and Martha Rosler
Curated by Christian Camacho-Light

Standard Forms considers aesthetic responses to the violence inflicted upon those bodies marked other by the nation-state’s regulatory norms and control mechanisms. Rather than representing these bodies directly, the works in the exhibition employ strategies of abstraction and non-figuration as a politics of form for rethinking the condition of the non-citizen.

Night Thoughts
Artists: Sadie Benning, William Blake & Edward Young, Win McCarthy, and Josef Strau
Curated by Jody Graf

Night Thoughts coaxes a Romantic understanding of artistic voice out of the shadows of contemporary discourse while locating its critical potential in a metaphorical night. Distinctions between interiority and exposure, withdrawal and productivity, dreamer and critic, find themselves collapsed.

A Path of Safe Travel
A Selection of Drawings by Sarah Oppenheimer
Organized by Emma James

A Path of Safe Travel presents a selection of Oppenheimer’s drawings in order to trace aspects of her current research on the function of pivots and switches in networks of space. The exhibition is approached as a research process into Oppenheimer’s work, those of her colleagues and their shared references, to generate a series of conversations exploring the implications of Oppenheimer’s work across various components and support systems of exhibitionary practice, such as the floor plan, display, and threshold.

Timely Illuminations
Participants: Ren Shulin, North River Union Group, and Fission Group
Curated by Yanhan Peng

Timely Illuminations takes the histories of two pioneering Chinese photography publications, Modern Photography (1984-1993) and New Photo (1996-1998), as a starting point for examining artistic dialogues in China about transitional social and political contexts during the 1980s and 1990s.

The future will never arrive
Artists: Luis López Carrasco, Beate Gütschow, Lisi Raskin, and Sarada Rauch
Organized by Rachael Rakes

Presence is a phenomenological state of being in touch with the things, events, people, and feelings that make us who we are. The future will never arrive imagines history as being in a state of presence: always close, and always emergent. The exhibition examines artistic practices that conduct non-linear forms of historiography in order to make historical presence legible and affective.

objects are slow events
Artists: Maggie Bennett, Simone Forti, Jonah Groeneboer, and Katherine Hubbard
Curated by Alexis Wilkinson

objects are slow events brings together a group of artworks that appear still, but in fact, exist in a state of motion. Through imperceptible movements such as subtle vibrations, gradual material shifts, and protracted transfers of weight, the works explore stillness as a performative phenomenon.


Also on view:

Receipt of a Magical Agent
April 3 – May 29, 2016
With works from the Marieluise Hessel Collection co-curated by the CCS Bard class of 2016

Student-curated exhibitions 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; the CCS Bard Arts Council; and by the Center’s Patrons, Supporters, and Friends. 


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