ANNANDALE-ON-HUDSON, N.Y.—This spring the Center for Curatorial Studies presents 13 exhibitions and other projects curated by second-year students in the Center's graduate program in curatorial studies and contemporary art. The students have organized these exhibitions and projects as part of the requirements for the master's degree. The first in the series of three student-curated exhibitions—Cloudless, Street Level, and TechnoSkeptic—will be on view from March 16 to 30. Also on view in March is an exhibition of selected works from the Marieluise Hessel Collection, on permanent loan to the Center for Curatorial Studies, curated by Amada Cruz, director of the CCS Museum. An opening reception will be held on Sunday, March 16, from 1:00 to 4:00 p.m. Museum hours are Wednesday through Sunday, from 1:00 to 5:00 p.m. Admission to both the museum and the reception is free.
Cloudless, curated by Bree Edwards, celebrates and critiques the optimism contained within utopian moments. Artists Matthew Buckingham and Joachim Koester, as well as Paul Chan, use film, video, and computer animation to reveal the complexities of idealism. Jude Tallichet's sculptural installation with sound is based on written manifestos, and Andrea Zittel's ongoing research into designs for living illuminates the intimate relationship of freedom and regimentation.
The works in Street Level highlight diverse aspects of the city. Artists Erik Benson, Stephanie Diamond, Ester Partegàs, Michael Rakowitz, and Phoebe Washburn aren't criticizing what they see on the streets, but instead encouraging awareness and appreciation of the urban experience. Curator Kate Green says, "The artists are interested in what we look at and what we overlook, whom we talk to and whom we ignore, where we sit and where we avoid."
The exhibition TechnoSkeptic, curated by Amaya de Miguel Sanz, questions values normally thought of as positive that are associated with technology: productivity, efficiency, improvement, and progress. The artist collectives Bureau of Inverse Technology and Redundant Technology Initiative, as well as artists Daniel García Andújar and Eddo Stern, offer critical views of the power of technology and denounce how military institutions, governments, and multinational corporations seem to take advantage of it in order to create consumer habits and to regulate citizens' behavior.
Sculpture from the Marieluise Hessel Collection, curated by Amada Cruz, director of the CCS Museum, features works in a variety of media by Janine Antoni, Lynda Benglis, John Chamberlain, Willie Cole, Tony Cragg, Tom Friedman, Jim Hodges, Doris Salcedo, and Robert Therrien.
The second group of four master's degree exhibitions will be on view from Sunday, April 13, through Sunday, April 27, with an opening reception on April 13 from 1:00 to 4:00 p.m. Migrating Motifs, curated by Candice Hopkins, features works by Faye HeavySheild and Elaine Reichek that utilize Native North American culture to offer insights into Western society. Solo (for two voices), curated by José Luis Blondet, includes videos, photographs, paintings, and sound works that explore the tensions between the voice and its social constructions. The Lengths, curated by Kelly Taxter, challenges the power of the image over reality with video, sculpture, and photo works by Trisha Donnelly, Omer Fast, Pierre Huyghe, Paul Ramirez Jonas, and Aïda Ruilova. Who Laughed?, curated by Jimena Acosta Romero, confounds sense and nonsense by unexpectedly altering everyday routines through works by Diego Gutierrez, Jonathan Hernández, and Christian Jankowski.
The final group of six master's degree exhibitions and projects will be on view from Sunday, May 11, through Sunday, May 25, with an opening reception on May 11 from 1:00 to 4:00 p.m. More Than A Thousand Words, curated by Kazeem Adeleke, uses photographs by Zwelethu Mthethwa, Tracey Rose, and Berni Searle to confront the traumatic experiences of women in colonial and postcolonial Africa. Rest Assured, curated by Ana Vejzovic, examines the experiences of leisure in contemporary society through sculptures, drawings, and videos by David Kramer, Euan Macdonald, Renata Poljak, and Chris Vorhees. Split: Women in Dislocation, curated by Christel Tsilibaris, includes works by Mona Hatoum, Stefana McClure, Senam Okudzeto, Fiona Tan, and Danwen Xing that reflect on the effects of cultural dislocation in their lives. In Subscribe: Recent Art in Print, curated by Ingrid Chu, artists Franz Ackermann, Gareth James, Dave Muller, Danica Phelps, Ron Terada, and the artist group BANK create postcards, advertisements, and other projects that will be published in New York–based art periodicals this spring. To What End?, curated by John Weeden, includes works in which an individual expends effort for no apparent reward. Curator Robert Blackson presents the project This Is Us, with British artist Jeremy Deller, who in collaboration with area musicians—ranging from church choirs to cheerleaders—produces a sound portrait of the Mid Hudson Valley. A spring concert will launch the resulting compilation CD.
Limited free seating is available on a chartered bus that leaves from Soho in New York City on the days of the exhibition openings (Sundays, March 16, April 13, and May 11). Reservations must be made in advance by calling the Center at 845-758-7598. Bus transportation is provided through the generosity of Audrey Irmas.
Programs at the Center, including the spring exhibitions, are supported by the Friends of the Center for Curatorial Studies and by the Center’s annual benefit for student scholarships and exhibitions. Additional support for the spring exhibitions has been provided by the Monique Beudert Fund and Marieluise Hessel.
For further information, call the CCS at 845-758-7598, e-mail firstname.lastname@example.org, or visit the website www.bard.edu/ccs/exhibitions.
# # #