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Museum Exhibitions
Upcoming
Lisi Raskin: Mobile Observation (Transmitting and Receiving) Station
Tuesday, April 15, 2008 - Sunday, September 7, 2008Mobile Observation (Transmitting and Receiving) Station is a new project by Lisi Raskin commissioned by the Center for Curatorial Studies as part of it's first artist-in-residence program. On April 14, 2008, Raskin departed CCS Bard in a converted cargo van for a month-long journey across the American west to visit sites of nuclear testing and development. From this mobile observation station, art works and ephemera will be mailed back to headquarters at the Center for Curatorial Studies, where they will be processed and displayed by CCS Bard graduate students in a post office/receiving station constructed specifically for the project. Installation on view daily April 15 - September 7, 2008.
Location: CCS Bard Audrey and Sydney Irmas Atrium Exhibition Website: View Press Release: View E-mail to Friend
PERSONAL PROTOCOLS AND OTHER PREFERENCES: AN EXHIBITION WITH WORKS BY MICHAEL BEUTLER, ESRA ERSEN AND KIRSTINE ROEPSTORFF
Saturday, June 14, 2008 - Sunday, September 7, 2008This exhibition brings together work by three artists, Michael Beutler, Esra Ersen, and Kirstine Roepstorff, who engage intensively with situations marked by the reality of a particular time and place, filtering them through distinct choices of methods and materials. There is a crafty aspect to the work which takes do-it-yourself techniques seriously as a way of questioning standard, whether it is man-made machines, videos filmed with a hand-held camera or textile-like collages. Although the physical outcomes are radically different they all strictly follow their own personal protocols of production.
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
I'VE GOT SOMETHING IN MY EYE
Sunday, June 15, 2008 - Sunday, September 7, 2008Liesbeth Bik and Jos van der Pol have worked collectively since 1995 as Bik Van der Pol. Their work engages with revitalization of memory in the present and with questions of knowledge and history, thus creating the necessary potential for a dialogue and an ever reforming discourse through which they develop an understanding of situations that surround us. The circulation of knowledge and re-use of existing and left-over spaces, forms and situations are important strategic tools in their work. Much of their work may also be described as context-sensitive and constructively critical: that is, they examine a particular context and question the functions of art, including those of art institutions. For this project, Bik Van der Pol will explore the Hessel Collection in depth, ultimately selecting works for an exhibition they will curate in the Hessel Museum. The goal is to both critically explore the boundaries and possibilities of the Collection as a whole, but also to use the exhibition-making process as an opportunity for people to meet and exchange thoughts and ideas.
Location: CCS Bard Hessel Museum of Art Exhibition Website: View Press Release: View E-mail to Friend
The Greenroom: Reconsidering the Documentary and Contemporary Art
Saturday, September 27, 2008 - Sunday, February 1, 2009The Greenroom: Reconsidering the Documentary and Contemporary Art is the inaugural event of a long-term research project on ”the documentary”. The research project aims at investigating the heritage of documentary practices in contemporary art, in relation to the history of film, documentary photography and television as well as to video art. It also aims at situating these contemporary documentary practices within current cultural production and at exploring their role within mainstream media and activism. The research project is a collaboration between CCS Bard and the artist and theoretician Hito Steyerl. The research project will run for approximately three years, starting in March 2008. The Greenroom will take place 27 September 2008-1 February 2009 in the CCS Galleries and in the Hessel Museum, inaugurated in Fall 2006.
Location: CCS Galleries and Hessel Museum of Art Exhibition Website: View E-mail to Friend
Past
Items 1-61 of 61
I'VE GOT SOMETHING IN MY EYE
Sunday, June 15, 2008 - Sunday, September 7, 2008Liesbeth Bik and Jos van der Pol have worked collectively since 1995 as Bik Van der Pol. Their work engages with revitalization of memory in the present and with questions of knowledge and history, thus creating the necessary potential for a dialogue and an ever reforming discourse through which they develop an understanding of situations that surround us. The circulation of knowledge and re-use of existing and left-over spaces, forms and situations are important strategic tools in their work. Much of their work may also be described as context-sensitive and constructively critical: that is, they examine a particular context and question the functions of art, including those of art institutions. For this project, Bik Van der Pol will explore the Hessel Collection in depth, ultimately selecting works for an exhibition they will curate in the Hessel Museum. The goal is to both critically explore the boundaries and possibilities of the Collection as a whole, but also to use the exhibition-making process as an opportunity for people to meet and exchange thoughts and ideas.
Location: CCS Bard Hessel Museum of Art Exhibition Website: View Press Release: View E-mail to Friend
PERSONAL PROTOCOLS AND OTHER PREFERENCES: AN EXHIBITION WITH WORKS BY MICHAEL BEUTLER, ESRA ERSEN AND KIRSTINE ROEPSTORFF
Saturday, June 14, 2008 - Sunday, September 7, 2008This exhibition brings together work by three artists, Michael Beutler, Esra Ersen, and Kirstine Roepstorff, who engage intensively with situations marked by the reality of a particular time and place, filtering them through distinct choices of methods and materials. There is a crafty aspect to the work which takes do-it-yourself techniques seriously as a way of questioning standard, whether it is man-made machines, videos filmed with a hand-held camera or textile-like collages. Although the physical outcomes are radically different they all strictly follow their own personal protocols of production.
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
Lisi Raskin: Mobile Observation (Transmitting and Receiving) Station
Tuesday, April 15, 2008 - Sunday, September 7, 2008Mobile Observation (Transmitting and Receiving) Station is a new project by Lisi Raskin commissioned by the Center for Curatorial Studies as part of it's first artist-in-residence program. On April 14, 2008, Raskin departed CCS Bard in a converted cargo van for a month-long journey across the American west to visit sites of nuclear testing and development. From this mobile observation station, art works and ephemera will be mailed back to headquarters at the Center for Curatorial Studies, where they will be processed and displayed by CCS Bard graduate students in a post office/receiving station constructed specifically for the project. Installation on view daily April 15 - September 7, 2008.
Location: CCS Bard Audrey and Sydney Irmas Atrium Exhibition Website: View Press Release: View E-mail to Friend
HIGH RESOLUTION: ARTIST'S PROJECTS AT THE ARMORY
Thursday, February 21, 2008 - Monday, February 25, 2008Including work by Spencer Finch, Lisi Raskin, Pietro Roccasalva, and a program of videos from Electronic Arts Intermix selected by students of the Center for Curatorial Studies. EXHIBITION HOURS: Thursday– Saturday: noon to 8 pm; Sunday: noon to 6 pm; Monday: noon to 5:30 pm; Free Admission. TOUR the installations and meet the artists: Sunday, February 24, 1 pm. For reservations: 845.758.7598 or ccs@bard.edu
Location: Park Avenue Armory, New York City Exhibition Website: View E-mail to Friend
Keith Edmier: 1991-2007
Saturday, October 20, 2007 - Sunday, February 3, 2008Keith Edmier 1991-2007 is the most comprehensive exhibition to date of work by American artist Keith Edmier. Featuring more than 40 works selected from key moments in Edmier's oeuvre, and a large-scale new commission--Bremen Towne, a recreation of the artist's childhood home in Tinley Park outside of Chicago. Opening reception: is Saturday, October 20, 1:00 to 5:00 p.m.
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
Exhibitionism: An Exhibition of Exhibitions of Works from the Marieluise Hessel Collection
Saturday, October 20, 2007 - Sunday, February 17, 2008A series of autonomous and highly idiosyncratic exhibitions for each of the 16 galleries in the Hessel Museum of Art, including works by more than sixty artists. Curated by White Columns director Matthew Higgs. Opening reception: is Saturday, October 20, 1:00 to 5:00 p.m.
Location: CCS Bard Hessel Museum of Art Exhibition Website: View Press Release: View E-mail to Friend
Ragnar Kjartansson Folksong
Thursday, October 11, 2007 - Saturday, October 20, 2007The Center for Curatorial Studies is pleased to present FOLKSONG, a ten day performance by Ragnar Kjartansson at 508 West 25th Street in New York City. FOLKSONG is a Tableau Vivant, where the artist is on view daily within a set of painted plywood trees. Dressed in cocktail wear and braced with a shiny red hollow body guitar and a powerful amplifier, Kjartansson performs live, singing over and over again a short verse from an unknown but strangely familiar song. Opening reception, Thursday October 11 from 5:00 to 7:00 pm.
Time: 11:00 am - 5:00 pm Location: 508 West 25th Street, New York City Exhibition Website: View E-mail to Friend
Martin Creed: FEELINGS
Saturday, July 7, 2007 - Sunday, September 16, 2007This summer, the Center for Curatorial Studies is pleased to present the first North American survey of the work of British artist Martin Creed. Curated by Trevor Smith, FEELINGS will include a comprehensive survey of Creed’s work as well as an intervention in the recently opened Hessel Museum of Art where several of his works will be installed to propose new ways of experiencing the Hessel Collection. Opening reception, Saturday, July 7, 2007, 5:00 - 7:30pm.
Location: CCS Galleries and CCS Bard Hessel Museum Exhibition Website: View Press Release: View E-mail to Friend
Martin Creed: SMALL THINGS
Saturday, July 7, 2007 - Sunday, September 16, 2007Part of the larger FEELINGS exhibition in the CCS Galleries and the Hessel Museum of Art, this special installation at 508 West 25th Street in New York City presents two large-scale works by Martin Creed. Opening hours for 508 W. 25th St. are Thursday - Saturday, from 11:00 am to 5:00 pm.
Location: 508 W 25th St., New York City Exhibition Website: View Press Release: View E-mail to Friend
Ragnar Kjartansson: Artist Talk
Tuesday, May 22, 2007Ragnar Kjartansson, an emerging artist from Iceland, will be introduced in conversation with the curator, Markús Thór Andrésson,in conjunction with his thesis exhibition "Repeat Performances: Roni Horn and Ragnar Kjartansson". There will be a special focus on how Kjartansson takes on local elements in his site specific and commissioned work, FOLKSONG. Kjartansson will relate the work to his previous practice as a performance artist and musician, showing images and videos of earlier works. His practice of crossing over the fields of music, art and theater will also be a topic of discussion.
Time: 1:00 pm - 2:00 pm Location: CCS Seminar Room E-mail to Friend
Inauguration: Hessel Museum of Art
Sunday, November 12, 2006Inauguration of the Hessel Museum of Art with the exhibition Wrestle, curated by Tom Eccles and Trevor Smith. Ribbon-cutting at 12 noon followed by reception.
Time: 12:00 pm - 4:00 pm Location: CCS Bard Hessel Museum of Art Exhibition Website: View Press Release: View E-mail to Friend
Inaugural Exhibition: Wrestle
Sunday, November 12, 2006 - Sunday, May 27, 2007Wrestle, curated by Tom Eccles and Trevor Smith, features more than 200 works from the Marieluise Hessel Collection, on permanent loan to CCS, including works by Cindy Sherman, Richard Prince, Roni Horn, Paul McCarthy, Rosemarie Trockel, Robert Gober, and many others. Opening reception, Sunday, November 12, 12:00–4:00 p.m. Museum hours: Wednesday through Sunday, 1:00–5:00 p.m.
Location: CCS Bard Hessel Museum of Art Press Release: View E-mail to Friend
Killer Shrimps
Sunday, September 10, 2006By filmmaker Piero Golia. The film is presented as a final event in conjunction with the summer exhibition Uncertain States of America at the Center for Curatorial Studies, which closes on Sept 10th. In Killer Shrimps the boundaries between reality and fiction are pushed so far they almost disappear, the real becomes unreal and the fictive becomes plausibly authentic. The actual film is a sort of behind-the-scenes view of a documentary that was never executed.
Time: 1:30 pm - 3:30 pm Location: Campus Center, Weis Cinema E-mail to Friend
UNCERTAIN STATES OF AMERICA - American Art in the 3rd Millennium
Saturday, June 24, 2006 - Sunday, September 10, 2006Wishing to provide a picture of the new generation of American artists, European curators Gunnar B. Kvaran, Daniel Birnbaum and Hans Ulrich Obrist have chosen young artists with a new vision for this exhibition. This art can be characterized as narrative and with a clear social and political consciousness. Yet one can also find a wide specter of themes and artistic ‘languages' in the exhibition, which, in addition to extensive multi-media installations, includes a video- and sculpture exhibition. The exhibition has been organized by the Astrup Fearnley Museum of Modern Art, Oslo, Norway and is accompanied by an extensive catalogue. The artists presented in the exhibition: Allora & Calzadilla - Edgar Arceneaux / Rodney McMillian - Devendra Banhart - Frank Benson - Jennifer Bornstein - Mike Bouchet - Matthew Brannon - Anthony Burdin - Paul Chan - Sean Dack - Trisha Donnelly - Jim Drain - Piero Golia - Hannah Greely - Taft Green - Guyton\Walker - Karl Haendel - Christian Holstad - Shane Huffman - Jiae Hwang - Matthew Day Jackson - Matt Johnson - Miranda July - Nate Lowman - Daria Martin - Matt McCormick - Ohad Meromi - Kori Newkirk - Seth Price - Adam Putnam - Cristina Lei Rodriguez - Matthew Ronay - Mika Rottenberg - Aďda Ruilova - Paul Sietsema - Josh Smith - Mika Tajima - TM Sisters - Jordan Wolfson - Mario Ybarra Jr. - Aaron Young
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
In Other Words
Sunday, April 9, 2006 - Sunday, April 23, 2006In other words, the instruments of so-called globalization and worldwide circulation of information convey the impression that these paths of transmission and translation are neutral. The task of the translator might be seen as one that sacrifices fidelity in exchange for transmissibility, so resorting to the famous Italian epigram “Traduttore—Traditore!” the supposed neutrality of translation is called into question.
Location: CCS Galleries Exhibition Website: View E-mail to Friend
Conversation with Ivo Mesquita
Tuesday, October 26, 2004Ivo Mesquita, curator from S? Paulo, Brazil, will present Pinacoteca do Estado, which he curated in 1991, and the Projeto Oct?ono, an artist residency program for comissioning new work by Brazilians and visiting artists (2003?).?Ivo has been on the faculty at the Center for Curatorial Studies since 1996. He was researcher and the assistant curator?(1980?8) and director (1999?000) of the S? Paulo Bienal Foundation, and director of the Museu de Arte Moderna, S? Paulo (2001?2). He curated Jorge Guinle at the 20th S? Paulo Bienal (1989), and Desire in the Academy, 1847?916 Pinacoteca do Estad, S? Paulo (1991). He was co-curater of Roteiros . . .? at the 24th S? Paulo Bienal (1998) as well as at inSITE97 and inSITE2000, San Diego and Tijuana, and F[r]icciones, Museo Reina Sofia, Madrid (2000). Publications include Leonilson: use e lindo, eu garanto (1997), Daniel Senise: ela que n? est? (1998), F(r)icciones (with Adriano Pedrosa, 2001), and catalogue essays. This “Conversation?is free and open to the public. The “Conversations?series, sponsored by the Center for Curatorial Studies, includes lectures and more informal discussions by visiting artists, curators, critics, and scholars who are invited to speak about recent work, current exhibitions, and important issues in the contemporary visual arts.
Time: 4:30 pm Location: Center for Curatorial Studies, Auditorium E-mail to Friend
Christian Marclay Exhibition
Sunday, September 28, 2003 - Friday, December 19, 2003First in-depth U.S. retrospective of this innovative artist and experimental musician. Center for Curatorial Studies Museum. Opening reception on Sunday, September 28, 1:00 to 4:00 p.m. Hours: Wednesday through Sunday, 1:00 to 5:00 p.m.
Location: CCS Galleries Exhibition Website: View E-mail to Friend
Three Summer Exhibitions at the CCS Museum
Sunday, June 29, 2003 - Thursday, August 7, 2003Three exhibitions: Video installations by Slater Bradley and A?a Ruilova and a group exhibition exploring the language of cinema by young artists of the United Kingdom, the United States, and Europe called Sodium Dreams. Opening reception Sunday, June 29, 1:00 to 4:00 p.m. Hours: Wednesday to Sunday, 1:00 to 5:00 p.m.
Location: CCS Galleries Press Release: View E-mail to Friend
CCS 10th Anniversary Exhibition
Sunday, September 29, 2002 - Friday, December 13, 2002Center for Curatorial Studies Tenth Anniversary Celebration. Three exhibitions from the permanent collection, The Arch of Desire: Women in the Marieluise Hessel Collection, cocurated by Ilaria Bonacossa and Cecilia Brunson; Text, Texture, Touch, curated by Tobias Ostrander; and Re(f)use, curated by Rachel Gugelberger. Opening reception, Sunday, September 29, 1:00-4:00 p.m. Hours Wednesday to Sunday, 1:00-5:00 p.m.
Location: CCS Galleries Exhibition Website: View E-mail to Friend
CCS Museum Exhibition: Mirror Image
Sunday, June 23, 2002 - Sunday, September 8, 2002The exhibition Mirror Image takes a look at some of the ways in which artists have explored ideas related to self-portraiture. Organized by the UCLA Hammer Museum in Los Angeles, Mirror Image is curated by Russell Ferguson, deputy director of exhibitions and programs and chief curator of the Hammer Museum. Works for the exhibition are drawn from the Hammer Museum collection and from the Marieluise Hessel Collection, on permanent loan to the Center for Curatorial Studies. The museum is open to the public, without charge, Wednesdays through Sundays from 1:00 to 5:00 p.m. An artists' reception will take place on Sunday, June 23, from 1:00 to 4:00 p.m.
Time: 1:00 pm - 5:00 pm Location: CCS Galleries Exhibition Website: View E-mail to Friend
CCS Museum Exhibition: Mirror Image
Sunday, June 23, 2002 - Sunday, September 8, 2002The exhibition Mirror Image takes a look at some of the ways in which artists have explored ideas related to self-portraiture. Organized by the UCLA Hammer Museum in Los Angeles, Mirror Image is curated by Russell Ferguson, deputy director of exhibitions and programs and chief curator of the Hammer Museum. Works for the exhibition are drawn from the Hammer Museum collection and from the Marieluise Hessel Collection, on permanent loan to the Center for Curatorial Studies. The museum is open to the public, without charge, Wednesdays through Sundays from 1:00 to 5:00 p.m. An artists' reception will take place on Sunday, June 23, from 1:00 to 4:00 p.m.
Time: 1:00 pm - 5:00 pm Location: CCS Galleries Exhibition Website: View E-mail to Friend
Dave Muller: Connections
Sunday, June 23, 2002 - Sunday, September 8, 2002Dave Muller, known as a dynamic and multitalented force in the Los Angeles art scene, is the subject of the exhibition Dave Muller: Connections, curated by Amada Cruz, director of the CCS Museum. Muller's ongoing series of drawings-his personal interpretations of exhibition announcements and invitations for shows by artists whose work he admires-will be the centerpiece of the exhibition.
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
David Shrigley Exhibition
Sunday, September 30, 2001 - Friday, December 14, 2001David Shrigley, first U.S. museum exhibition of this British artist. Curated by Center for Curatorial Studies Museum director Amada Cruz, the exhibition features drawings, photographs, and sculptures by Glasgow-based Shrigley. Center for Curatorial Studies; opening reception Sunday, September 30, 1:00–4:00 p.m. Hours Wednesday to Sunday, 1:00–5:00 p.m. Closed holidays.
Location: Center for Curatorial Studies, Museum Exhibition Website: View E-mail to Friend
David Shrigley Exhibition
Sunday, September 30, 2001 - Friday, December 14, 2001David Shrigley, first U.S. museum exhibition of this British artist. Curated by Center for Curatorial Studies Museum director Amada Cruz, the exhibition features drawings, photographs, and sculptures by Glasgow-based Shrigley. Center for Curatorial Studies; opening reception Sunday, September 30, 1:00–4:00 p.m. Hours Wednesday to Sunday, 1:00–5:00 p.m. Closed holidays.
Location: Center for Curatorial Studies, Museum Exhibition Website: View E-mail to Friend
Solo Exhibition by Tony Feher
Sunday, June 24, 2001 - Sunday, September 9, 2001Tony Feher's exhibition is conceived as a site-specific project that will fill all of the CCS galleries. Feher will design the installation using new work. This is his largest solo show to date. Feher is based in New York. His work has been included in numerous exhibitions, including solo exhibitions at Wooster Gardens (1993), The New Museum of Contemporary Art (1996), and Wesleyan University (1997).
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
Solo Exhibition by Sarah Sze
Sunday, June 24, 2001 - Sunday, September 9, 2001The Center for Curatorial Studies (CCS) Museum will present a new project by the New York-based artist Sarah Sze. Conceived especially for the CCS building, the work will be Sze’s first large-scale outdoor piece.
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
The Body in Photographs Exhibition
Monday, March 19, 2001 - Monday, May 28, 2001The exhibition The Body in Photographs: A Recent Gift from Eileen and Peter Norton, is comprised of eighteen photographic works recently donated to the museum from the Norton Collection. The Center for Curatorial Studies Museum at Bard College has been named as one of 29 museums in the United States and abroad to receive gifts of contemporary artwork from the well-known collection of Peter and Eileen Norton. The Nortons have announced the donation of nearly 1,000 artworks, with a total estimated value of more than $2 million, to institutions including The Museum of Modern Art and the Whitney Museum of American Art in New York, the Los Angeles County Museum of Art, the Tate Gallery in London, and the CCS Museum.
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
I need You To Be There, Angles of Incidence, The Volitile Real
Sunday, February 11, 2001 - Sunday, February 25, 2001I Need You to be There, Angles of Incidence, and The Volatile Real are three exhibitions curated by the first-year graduate students using works from the Marieluise Hessel Collection on permanent loan to the Center for Curatorial Studies. All three exhibitions are concerned with the problems we face living in a society assaulted with images and information constructed by art, advertising, television, film and radio. This media glut produces a situation in which a straightforward understanding of reality is challenged. How does this affect our sense of what is real and unreal? Do we retain a clear understanding of our own reality, our own individuality? The works in these exhibitions embody absence, reflection, direct address, and fiction. The artists employ these means to frame, imply, or evoke specific conditions for viewing and interacting with artworks. Sometimes we are invited to complete a narrative, while at other times the work seems to exclude us entirely. Surprisingly confrontational, some of these works challenge our own autonomy. We navigate a dynamic and volatile reality, negotiating our own existence through a shifting deluge of identity, information, and experience.
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
Isaac Julien Exhibition
Sunday, September 24, 2000 - Friday, December 15, 2000This exhibition will be the most substantial to date devoted to the work of Isaac Julien. The presentation will consist of a related trilogy of video installations and a recent work, which Julien produced during a fall 1999 residency at Art Pace in San Antonio, Texas. A catalogue will be published to accompany the exhibition. This publication will be the most comprehensive book on Julien’s work and will bring together the artist’s writings for the first time.
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
Ilya Kabakov: 1969?998 Exhibition
Sunday, June 25, 2000 - Sunday, September 3, 2000The Center for Curatorial Studies at Bard College will present the largest exhibition of works by Russian artist Ilya Kabakov ever to be shown in the United States. Works on view in Ilya Kabakov: 1969?998 include early drawings, major installations, paintings, and sculptures.
Location: CCS Galleries Exhibition Website: View Press Release: View E-mail to Friend
Felix Gonzalez-Torres, "snapshots"
Sunday, September 26, 1999 - Saturday, December 18, 1999Artist Felix Gonzalez-Torres (1957-1996) sent the photographs in "snapshots" to friends and colleagues. The images ranged from humorous tableaux created with toys he collected to evocative scenes of birds flying among the clouds that related to his artwork. Gonzalez-Torres often wrote personal notes, poems, or other musings on the reverse of many of these photographs which provide insight into an artist who blurred the distinction between private life and the public realm in his work. Considered one of the most influential artists of his generation, Gonzalez-Torres used everyday materials in his work to speak of love, loss, and memory. This exhibition of comprises 145 snapshots and twelve photographic works of art. Support for this exhibition was provided by Carlos and Rosa de la Cruz.
Location: CCS Galleries Press Release: View E-mail to Friend
Familiars
Sunday, September 26, 1999 - Friday, December 17, 1999"Familiars" a collaborative exhibition by Kiki Smith and Margaret DeWys is based on a series of printed drawings by Smith entitled "The Familiars" and sound pieces by DeWys. The series depicts the vulnerable yet strong demeanor of girls on the edge of sexual maturity. Alongside the girls are images of cats, wolves, deer, and other animals, which appear, according to Smith "like witches and their consorts." The second series of drawings in this exhibition are entitled "Ste. Genevieve" which is made up of nine elements. The "Ste. Genevieve" series represents a mature female figure interacting with wolves. In contrast to the younger girl this figure confronts the viewer with an open, confident gaze and approach. The sound component of the work is designed to function in a synesthetic relationship to Kiki’s visual images and to the architectural space of the drawings. They are based on visual clues in the drawings and are triggered by the motion of the viewer passing in front of the drawing. There is also a continuous projection of Peter Hutton’s black and white file "In Titan’s Goblet", which is a dreamy portrayal of the clouds at night with a haunting, echoing soundtrack by De Wys.
Location: CCS Galleries Press Release: View E-mail to Friend
Calendar 2000
Sunday, September 26, 1999 - Friday, December 17, 1999One hundred eighty-four artists contributed an original work on paper to create a series of calendars for "Calendar 2000". Each image represents a month of the year and has been created by a contemporary artist, including such well-established figures as Vito Acconci, Louise Bourgeois, Larry Clark, Robert Gober, Yayoi Kusama, Glenn Ligon, and Sol LeWitt; and emerging artists such as Jessica Bronson, Teresita Fernandez, Tobias Rehberger, and Sarah Sze. The calendar project has been jointly organized by the CCS Museum and Art for Art’s Sake, an organization based in New York City that supports small not-for-profit institutions. In addition to being an exhibition, "Calendar 2000" is a fundraiser, as each set of 12 works of art will be sold to collectors. The proceeds will support the exhibition programs of the CCS Museum and Art for Art’s Sake.
Location: CCS Galleries Press Release: View E-mail to Friend
Takashi Murakami: The meaning of the nonsense of the meaning
Friday, June 25, 1999 - Sunday, September 12, 1999Japanese artist Takashi Murakami was the subject of first comprehensive museum show of Murakami’s work and included rarely seen early work and his most recent large-scale sculptures and paintings. Murakami finds influence for his work in images from both historical Japanese traditions and current Japanese popular culture. He borrows from Japanese cartoons, (manga), animation (anime) and cute promotional characters for much of the imagery. He exaggerates these figures to the point of vulgarity in works that are both tour de force of the grotesque and wry political commentaries on the imagery promoted by marketers and advertisers in Japan.
Location: CCS Galleries Press Release: View E-mail to Friend
Positioning
Sunday, February 7, 1999 - Friday, February 12, 1999An exploration of art of the 90s curated by first year graduate students, featuring art works from the Marieluise Hessel Collection on permanent loan to the Center for Curatorial Studies. Curators: Weijun Cao, Jennifer Crowe, Lisa Hatchadoorian, Sofia Hernandez Chong Cuy, Ji-Seon Kim, Dermis P. Leon, Tumelo Mosaka,Gregory Sandoval, Lorelei Stewart, Monika Szczukowska, Mercedes Vicente, Jeffrey Walkowiak, Teresa Williams. Curatorial Advisor: Maria Hlavajova. Opening Reception: Sunday, February 7, 1999, 1:00-4:00. Museum Hours: Wednesday-Sunday 1:00-5:00. Admission: Free.
Location: CCS Galleries Exhibition Website: View E-mail to Friend
Alighiero e Boetti
Sunday, September 20, 1998 - Friday, December 18, 1998Known for his participation in the Italian Arte Povera movement this exhibition features calendar collages and postal drawings from the LeWitt Collection. Curator: Marcia Acita
Location: CCS Galleries E-mail to Friend
Yesterday Begins Tomorrow: Ideals, Dreams, and the Contemporary Awakening
Sunday, September 20, 1998 - Friday, December 18, 1998This exhibition is an attempt to see how contemporary art functions and moves within the stalemate of our times and along the possible new trajectories of the world, along the borders of Yesterday and through the blind ends of Tomorrow. The thirteen international artists represented in this exhibition of sculpture, photography, and video are: Gabriele Basilico, Monica Bonvicini, Patrick Faigenbaum, Paul Graham, Lothar Hempel, Noritoshi Hirakawa, Shin Ji-chul, Luisa Lambri, Tony Matelli, Zwelethu Mthethwa, Philippe Parreno, Collier Schorr, and Damian Ortega. Curator: Francesco Bonami.
Location: CCS Galleries E-mail to Friend
Odradek
Sunday, September 20, 1998 - Friday, December 18, 1998This multimedia exhibition takes its title and cue from a creature described in a short story by Franz Kafka and represented in a picture by Jeff Wall. Kafka describes the Odradek as an exceptionally mobile creature that refuses to be caught; a fugitive form with no apparent purpose that lives in familiar domestic spaces and does no obvious harm to anyone. It has a voice and speaks politely, without ever giving more than opaque answers to transparent questions. The exhibition includes works by Donald Judd, Art & Language, Jeff Wall and Carsten Nicolai as well as new and existing works by the co-curators. Curator: Thomas Mulcaire in collaboration with Kendell Geers, Liam Gillick, and Paul Gregory.
Location: CCS Galleries E-mail to Friend
Stills: A Selection from the Marieluise Hessel Collection
Sunday, June 14, 1998 - Sunday, September 6, 1998"Stills: A Selection from the Marieluise Hessel Collection" brings together thirty-eight works that relate to the imagetic, linguistic, and technical universe generated by the advent of cinema. It displays works that involve elements of cinematic memory present in the contemporary imaginary that give rise to a plastic language or image. The exhibition demonstrates, through paintings, sculpture, photographs, and objects, how the imaginary of some artists fuses in a productive dialogue with the repertory of images, cultural signs, and linguistic and technological devices generated by cinema, while simultaneously confronting the transformations that it caused to perceptions and representations of humanity and the world. This exhibition is an expanded version of Fotogramas: art e cinema na colecăo Marieluise Hessel presented at two venues in Brazil, the Centro Cultural Light in Rio de Janeiro and Museu de Arte Moderna Săo Paulo. Curator: Ivo Mesquita
Location: CCS Galleries E-mail to Friend
Tunga: 1977-1997. Presented as a Touring Exhibition at Two Venues 1997-1998
Sunday, September 21, 1997 - Sunday, November 23, 1997"Tunga: 1977-1997", a survey of the last twenty years of the artist’s work, included video, film, performance, drawing, sculpture, and three major installations. For more than ten years Tunga, who is widely considered to be one of the most important artists of the generation of followers of the neo-concrete movement in Brazil, has been producing works of art and events that intertwine texts and objects into narratives suggesting a world in which science is delirious and dreams are logical. His work challenges notions about the relationship between art and literature and traditional notions of identity, and questions the boundaries between reality and fiction, art and life, facts and dreams. Because of its intellectual scope Tunga’s work can be considered to be representative of the utopian universalism that is pervasive in South American arts and culture. Curator: Carlos Basualdo.
Location: CCS Galleries E-mail to Friend
Doug Ischar
Sunday, June 15, 1997 - Saturday, August 23, 1997Doug Ischar projects electronically reproduced images onto photographs, objects, and walls, as well as using standard video monitors. The images, most often culled from popular culture, include photographs of political leaders (i.e., Che Guevara, Mao), vintage gay porn, clips from grade-B movies, and other sources. Ischar alters the original implications of these materials by viewing them in a gay context, releasing a libidinous energy. His installations take place in semi-dark rooms that call up associations of intimate, erotic, or illicit transactions. Ischar's installation skirts the margins of narrative but rejects the coherence and closure of traditional narrative forms. Instead, he offers fleeting insights into the banal and ephemeral materials of everyday life, the inconclusive evidences of the transitory pleasures of looking in.
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Joseph Havel
Sunday, June 15, 1997 - Saturday, August 23, 1997Texas-based artist Joseph Havel assembles components of ordinary garments, such as labels and collars, into freestanding sculptures and wall installations. His materials are taken from the everyday white shirt, an object laden with implications about modern work culture. In his installations, the artist takes apart the implied meanings of this uniform for the modern office. While Havel’s works stand as discrete objects, they also remind us of everyday aspects of middle-class work culture, through repetition, massification, and dematerialization. Havel's works are very much in keeping with the Southwestern assemblage tradition while maintaining an openness that invites viewing possibilities beyond these metaphors and the formal references of the objects they are made of.
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Landscape: the Pastoral to the Urban
Sunday, June 15, 1997 - Saturday, August 23, 1997"Landscape: The Pastoral to the Urban" examined changing notions of the landscape as an artistic theme and how this theme directly and indirectly continues to motivate artists and inspire experimentation. In the exhibition, landscape was viewed both in historical and cultural contexts and as a realm of existence often beyond the reach of cultural institutions. The landscape can be seen as an artifice or an artificially constructed thing, as an extension of the artist, that tells more about him or her than it does about the landscape the work alludes to. The works in the exhibition spanned a broad creative range from sharp depiction to expressive and romantic renderings and from parody to the meditative. "Landscape: the Pastoral to the Urban" included a wide variety of media dating from the 1960s to today, by Richard Artschwager, Georg Baselitz, Jean-Michel Basquiat, Bernd and Hilla Becher, Peter Cain, Vija Celmins, Christo and Jeanne-Claude, Hannah Collins, Robert Cottingham, Jeanne Dunning, Richard Estes, Felix Gonzalez-Torres, Gunther Forg, April Gornik, Gary Hill, Mark Innerst, Yvonne Jacquette, Alex Katz, Richard Long, Robert Longo, Paul Myoda, Joan Nelson, Louise Nevelson, Jack Pierson, Gerhard Richter, Cindy Sherman, Andy Warhol, Neil Welliver, and Chris Welsby. The exhibition was organized by the Center for Curatorial Studies Museum and was made possible through support from the Martin & Toni Sosnoff Foundation.
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a/drift
Saturday, October 26, 1996 - Sunday, January 5, 1997"a/drift", an exhibition-as-allegory, employed the idea of drifting to suggest the increasingly porous quality of today’s cultural life. "a/drift" offered eight fluid zones: Elasticity (pulled, stretched-out, nearly torn, and returned to shape); Carnal Matters (the body is everywhere displayed, and displaced); Almost Dumb, Distracted and Apathetic Enough (your behavior is a strategy of resistance); A Lovely Entropy (when things fall apart, and we embrace the erosion); Lifestyles of the... (live like us, be like us, we are you); TV Heads (television is inside us, and we are inside television); Where is the Identity? (moments of naming and identification); and From Reticence to Smart Anger, Nihilism to Hope and Back Again (social psychologies and styles in transition, or contradiction). While the show focused upon newly commissioned and extant works of art, each zone also brought into play materials from distinct areas of culture, such as film, television, fashion, and music. Curator: Joshua Decter. Artists are Vito Acconci, Franz Ackermann, Doug Aitken, Vanessa Beecroft, Dawoud Bey, Nayland Blake, Douglas Blau, Henry Bond, Chris Burden, Larry Clark, John Currin, Sam Durant, Nicole Eisenman, Tamara Fites, Coco Fusco, Nan Goldin, Felix Gonzalez-Torres, Renee Green, Simon Grennan & Christopher Sperandio, Lyle Ashton Harris, Noritoshi Hirakawa, Damien Hirst, Dana Hoey, General Idea, Alex Katz, Mike Kelley, Karen Kilimnik, Martin Kippenberger, Jutta Koether, Jeff Koons, Inez van Lamsweerde, Sean Landers, Glenn Ligon, John Lindell, Sharon Lockhart, Charles Long, Robert Longo, Ken Lum, Piero Manzoni, Daniel J. Martinez, Paul McCarthy, John Miller, Mariko Mori, Mark Morrisroe, Billy Name, Bruce Nauman, Cady Noland, Daniel Oates, Claes Oldenburg, Catherine Opie, Steven Parrino, Hirsch Perlman, Raymond Pettibon, Elizabeth Peyton, Jack Pierson, Adrian Piper, Lari Pittman, Sigmar Polke, Stephen Prina, Richard Prince, Jason Rhoades, David Robbins, Gerwald Rockenschaub, Thomas Ruff, Sam Samore, Collier Schorr, Cindy Sherman, Stephen Shore, Jennifer Silitch, Gary Simmons, Laurie Simmons, Georgina Starr, Beat Streuli, Wolfgang Tillmans, Rirkrit Tiravanija, Lincoln Tobier, Meyer Vaisman, Jeff Wall, Andy Warhol, Gillian Wearing, Sue Williams; also including artists invited by Elein Fleiss and Olivier Zahm of Purple Prose magazine (Paris): Miltos Manetas, Mark Borthwick, Serge Comte, Bernard Joisten, Maurizio Cattelan, Laetitia Benat, Vidya & Jean Michel, and Anders Edström.
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Untitled, 3 x 3 from Hungary, and Boris Mikhailov
Saturday, July 13, 1996 - Thursday, September 19, 1996Untitled "Untitled" was an exhibition of single-channel video performances, photography, paintings, and sculptures by Vanessa Beecroft, Oliver Herring, Y.Z. Kami, Mariko Mori, Maciej Toporowicz, and Ricardo Zulueta. The works in "Untitled" were visually diverse, in different media, and had different concerns. However, they all welcome and induce self-reflection, a consquence of the use of the artist=s own image, body, and presence, or of his or her surrogate, in the context of an object of desire. As a result, the works in AUntitled were at the same time seductive and enigmatic. 3 x 3 from Hungary This exhibition of three generations of Hungarian avant-garde art, spanned the last four decades, from the grand master of abstract painting Tamás Lossonczy, to the youngest generation of 1990s neo-conceptual artists. A3 x 3 from Hungary surveyed the impulse of modernism and the resistance to it . The artists in the exhibition are Imre Bak, Attila CsorgĹ, Orshi Drozdik, Róza El-Hassan, Eva Köves, Tamás Lossonczy, László Mulasics, István Nádler, and Tamás Trombitas. "3 x 3 from Hungary" was organized by Katalin Neray, the director of the Ludwig Museum, Budapest. Boris Mikhailov This exhibition of the art of Ukrainian photographer Boris Mikhailov included his recent series of works: U Zemli, Sumerki, and Salt Lake as well as other works. U Zemli (from the ground) and Sumerki (twilight) examined the socioeconomic difficulties of life in post-Soviet Ukraine in a brutally frank, almost documentary manner. Shot with a panoramic camera from waist level, and installed as a long frieze well below eye level, the work evokes a sense not only of a bowing in reverence but of a crushing weight from above.
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Sniper's Nest: Art That Has Lived with Lucy R. Lippard
Saturday, October 28, 1995 - Friday, December 22, 1995Presented as a Touring Exhibition at Six Venues 1996-1998. "Sniper's Nest" was an exhibition of small works culled from a collection, including artist books, posters, postcards, and photographs, assembled by noted New York critic Lucy Lippard over the past thirty years. The exhibition included works by more than one hundred artists, including Judy Baca, Louise Bourgeois, Judy Chicago, Papo Colo, Hanne Darboven, Jimmie Durham, Philip Evergood, Leon Golub, Harmony Hammond, Eva Hesse, Luis Jimenez, Alex Katz, On Kawara, Sol LeWitt, Ana Mendieta, Robert Rauschenberg, Faith Ringgold, Robert Ryman, Juan Sanchez, Lorna Simpson, Jaune Quick-to-See-Smith, Nancy Spero, Michelle Stuart, Cecilia Vicéna, and Hannah Wilke. The exhibition considered the inherent qualities of an intimate collection of works given to Lippard as gifts by artists, family members, friends, and lovers. Incorporating excerpts from Lippard's writings over thirty years, the "Snipers's Nest" reflected upon the role this critic, feminist, cultural worker, mother, and activist has played in the American art scene over the last several decades.
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Observatory: A Sound/Video Installation by Lewis deSoto
Saturday, September 30, 1995 - Friday, December 22, 1995"Observatory" employed television static and sounds collected from various extraterrestrial sources, such as radio emissions from Jupiter and the signal from a wobbling pulsar. "Observatory" examines the mind's ability to create meaning and to search for understanding among seemingly random, undifferentiated sounds and images.
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Amazons of the North: James Bay Revisited
Saturday, September 30, 1995 - Friday, December 22, 1995(organized by the Goethe Institute) This exhibition by artist Rainer Wittenborn in collaboration with writer Claus Biegert explored the impact of the massive James Bay hydroelectric power project on Cree Indian lands in northern Quebec. Since 1981 Wittenborn and Biegert have worked with the region's Cree Indians to chronicle the effects of extensive damming of rivers on the James Bay environment and the impact of the power project on the traditional culture of the indigenous people. "Amazon of the North: James Bay Revisited" consists of photographs, texts, artifacts, drawings, maps, paintings, and a video installation that visually deals with the issues raised by the project ten years after the forest clearing and flooding.
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Jim Hodges
Saturday, September 23, 1995 - Friday, December 22, 1995Hodges is known for the "paintings" he creates from colored silk flowers that hang like tapestry from the ceiling or are attached individually to walls. These delicate, ephemeral compositions comment on the fragility and vulnerability of beauty and of life itself. Included in the exhibition was a new work by the artist entitled Till Then.
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Photography and Beyond: New Expressions in France
Saturday, September 23, 1995 - Sunday, October 15, 1995(organized by the Boca Raton Museum, Florida and the Israel Museum, Jerusalem) This exhibition featured seven contemporary French artists--David Boeno, Christian Boltanski, Aričle Bonzon, Sophie Calle, Pascal Kern, Suzanne Lafont, and Annette Messager--whose works reflected an expansion of the expressive possibilities of photography and its role in relation to other art forms. In the seventies, painters and sculptors began using the medium of photography to enlarge their realm of artistic expression. At the same time, photographers started incorporating new materials into their work. As a result of this experimentation, the traditional role of photography was transformed. This exhibition, curated by Timothy A. Eaton and Nissan N. Perez, was organized by the Boca Raton Museum of Art and The Israel Museum.
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Look Away! Look Away! Look Away!! Kara Walker
Saturday, September 23, 1995 - Sunday, October 22, 1995Using an old art form from popular culture--silhouettes cut from black paper--Kara Walker creates works to be a commentary on the history of slavery and race relations. Her elegant and strong images and stories appeared to be culled from historical romance novels.
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Modernbund: Arturo Cuenca
Saturday, July 8, 1995 - Sunday, August 27, 1995Arturo Cuenca, one of Cuba's foremost artists, has been living in New York since his defection in 1991. In a series of new works, Cuenca confused and complicated the difference between photography and painting to produce seemingly archival yet synthetic images that evoked issues of surrender, exile and finality.
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Gargoyles: Paul Myoda
Sunday, April 9, 1995 - Sunday, May 14, 1995"Gargoyles" examined this mythic creature's role as evil ornament and functional element - created both to divert rain flow from the roofs of buildings and to distract the imaginations of passersby from horror beyond the Gargoyles' realm. Paul Myoda's multimedia installation consisted of a color film and sculptures.
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Masterpieces from the Solomon R. Guggenheim Museum’s Panza Collection
Sunday, April 2, 1995 - Sunday, August 27, 1995The Solomon R. Guggenheim Museum's Panza Collection is the most significant single collection in the world documenting the important artistic achievements of the 1960s and the 1970s. Minimalism and Conceptual Art, which emerged and flourished in the United States during that period, represented a radical reformation of aesthetic vision in both painting and sculpture. The Panza exhibition featured critical works by Hanne Darboven, Jan Dibbets, Hamish Fulton, Douglas Huebler, Donald Judd, On Kawara, Joseph Kosuth, Robert Morris, Bruce Nauman, Richard Serra, and Lawrence Weiner. Works from the Center's Rivendell Collection by Carl Andre, Donald Judd, Dan Flavin, Sol LeWitt and Richard Long were seen with the Guggenheim Panza loan.
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The Superstitious Man Nedko Solakov
Wednesday, November 30, 1994 - Friday, December 23, 1994The Balkans are highly saturated when it comes to the matters of the spirit. Shamans and sorcerers abound. Bulgarian artist Nedko Solakov built a complete environment to ward off the "evil eyes" as well as tax agents and other misfortunes.
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Shadow Projection, 1974: Peter Campus
Wednesday, November 23, 1994 - Sunday, February 12, 1995Shadow Projection is a closed circuit video installation in which the viewer sees himself/herself being projected on a screen and becomes a participant in determining the shape of the projected image, altering it at will.
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The Fountain of Europe: Luchezar Boyadjiev
Saturday, October 29, 1994 - Wednesday, November 30, 1994Boyadjiev's works examined the resurgence of various faiths operating in the void left by the end of the longest sustained belief system in the twentieth century--communism.
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Recent Acquisitions from the Rivendell Collection
Saturday, October 22, 1994 - Friday, December 23, 1994The Rivendell Collection of Late Twentieth Century Art is on permanent loan to the Center for Curatorial Studies. The exhibition featured a selection of works acquired since 1992. The artists in the exhibition were Sophie Calle, Larry Clark, Jenny Holzer, Nan Goldin, Carter Kustera, Sean Landers, Robert Longo, Pieter Laurens Mol, Kiki Smith, Cindy Sherman, Felix Gonzalez-Torres, and Christopher Wool.
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Transformers: the Art of Multiphrenia
Wednesday, September 21, 1994 - Sunday, November 13, 1994(organized by the ICI, NY) The works in Transformers spoke in multiple voices and from shifting perspectives. They mix accepted cultural identities into outrageous combinations, shuffling conventional signs of gender, race, age sexuality and even species. Transformers defined a mutant aesthetic that adventurously seeks out the full range of our contradictions and suggests that we can most effectively learn about ourselves by exploring the identities of others. Transformers presented works in a wide variety of styles and media--painting, sculpture, video, drawing, and photography--by a diverse group of artists including Anna Deavere Smith, Jimmie Durham, Bob Flanagan and Sheree Rose, Guillermo Gómez-Peńa, Jenny Holzer, Mike Kelley and Paul McCarthy, Komar & Melamid, Charles LeDray, Glenn Ligon, Christian Marclay, Paul McCarthy, Yasumasa Morimura, Catherine Opie, Adrian Piper, Cindy Sherman, Meyer Vaisman, Kukuli Velarde, and Fred Wilson. Guest curator was Ralph Rugoff.
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Obsession: Maciej Toporowicz
Wednesday, September 21, 1994 - Sunday, October 16, 1994Toporowicz fused imagery from the National Socialist Germany with texts and images from contemporary advertising. The Obsession series questioned the cult of the body, as promoted in recent advertisements, and the resemblance of this type of imagery to Nazi symbolism.
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Exhibited
Saturday, April 23, 1994 - Friday, September 2, 1994"Exhibited" investigated different approaches to making exhibitions, and the ways in which particular exhibition contexts seek to ascribe value, meaning and aura to works. The exhibition took a single work as its focus, Thomas Struth's work Louvre IV (1989). Louvre IV engages issues of the private and the public, the museum context, and the notion of audience. As a work which itself represents a moment when a certain kind of museum context was created, Louvre IV operated as the main agent of discussion and a negotiator of meanings in the exhibition. The exhibition consisted of six rooms: a room where works are curated on the premise of a visual semblance; an alphabetical room where a segment of the Rivendell Collection was presented in alphabetical order of the artists names; a collector’s room; a Nineteenth Century Salon installation ; a restrained white cube gallery; and finally a contextual room where work was treated as a fact for investigation. "Exhibited" brought the Rivendell Collection of Late-Twentieth Century Art, modes of exhibition practice and the galleries of the Center for Curatorial Studies into a collision in an effort to "denaturalize" the agreements between works, exhibition spaces, and social, political, and aesthetic contexts.
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