Fall 2010 Faculty
The faculty of the graduate program includes curators and other arts professionals, scholars in the humanities and social sciences, critics, and artists. Most faculty members are working professionals or hold permanent academic appointments at institutions other than Bard.
Johanna BurtonDirector of the Graduate Program; Faculty, CCS Bard; Graduate Committee
Johanna Burton, appointed Director of the Graduate Program at CCS in July 2010; New York-based art historian and critic, has written extensively on postwar and contemporary art for numerous publications, including Artforum, Parkett, and Texte zur Kunst; and she is the editor of Cindy Sherman (2006), a collection of critical essays on the artist for MIT Press's October Files series. Burton's other recent writings include texts on the women-only art magazine Eau de Cologne (published in Witness to Her Art, eds. Rhea Anastas and Michael Brenson, Center for Curatorial Studies, 2006) and Lee Lozano (on the occasion of the artist's inclusion in an exhibition curated by Helen Molesworth at the Wexner Center in Columbus, Ohio, in Spring 2008); and she has written catalogue essays for recent career survey exhibitions of Dara Birnbaum, Mel Bochner, and Mary Heilmann. She was Associate Director and Senior Faculty Member at the Whitney Independent Study Program in New York from June 2008—July 2010.
Ann ButlerFaculty, CCS Bard; Director of Library and Archives, CCS Bard Library and Archives
Ann Butler is the Director of the Library and Archives at the Center for Curatorial Studies at Bard College and the Project Director for Arts Spaces Archives Project (as-ap.org). Prior to joining CCS in August, she was Senior Archivist at the Fales Library and Special Collections at New York University where she helped build a mixed format collection consisting of over 10,000 linear feet of archival materials including 15,000 moving image and audio elements relating to the contemporary and performing arts. Before joining Fales, she was the Archivist for the Solomon R. Guggenheim Museum where she implemented an enterprise-wide museum archives program for a complex and decentralized global arts institution. Her education includes a BFA from the School of the Art Institute of Chicago, an MLS from Rutgers University, and an MA in Media Studies from the New School. Ann Butler has lectured widely on the preservation and documentation of moving image and electronic media works. She has participated in a number of international initiatives focusing on the preservation of cultural heritage materials. Her research interests include the intersection of archives and the contemporary arts; documentation and preservation issues for performance and installation-based works; and the increasing convergence of archives and museum collection management practices for contemporary art-related collections.
Lauren CornellGraduate Committee
Lauren Cornell is the Executive Director, Rhizome and the Adjunct Curator, New Museum of Contemporary Art
Cornell oversees and develops Rhizome's programs, all of which serve to promote and contextualize art engaged with technology. Previously, Cornell worked as a curator and writer in London and New York. She worked in the Andy Warhol Film Project at the Whitney Museum and, from 2002-2004, she served as Executive Director of Ocularis, an organization dedicated to avant-garde cinema, video and new media. As Adjunct Curator at the New Museum, Cornell produces the monthly New Silent Series, and has co-curated exhibitions including "The Generational: Younger Than Jesus." Her most recent show "Free" opened at the New Museum on October 20, 2010.
Christoph CoxFaculty, CCS Bard; Graduate Committee; Professor of Philosophy, Hampshire College, MA
Christoph Cox is a critic, theorist and curator of art and music. He is Professor of Philosophy at Hampshire College, where he teaches contemporary European philosophy and aesthetic theory. Cox is the author of Nietzsche: Naturalism and Interpretation (University of California Press, 1999) and co-editor of Audio Culture: Readings in Modern Music (Continuum, 2004). He is a regular contributor to Artforum and The Wire, and is editor-at-large at Cabinet. Cox has curated exhibitions at The Kitchen (New York City), the Contemporary Arts Museum (Houston), New Langton Arts (San Francisco), and G Fine Art Gallery (Washington D.C.) and has written catalog essays for exhibitions at the New Museum of Contemporary Art, Mass MoCA, the South London Gallery, Berlin's Akademie der Künste, the Museum of Contemporary Photography, Seattle Center and the Santa Barbara Contemporary Arts Forum. He is currently writing a book about ontology and temporality in sound art from the 1960s to the present.
Tom EcclesExecutive Director, CCS Bard; Graduate Committee
M.A., University of Glasgow. Former public art consultant and project manager, Art in Partnership, Edinburgh, Scotland. Director, Public Art Fund, New York (1996–2005); has organized innovative contemporary art exhibitions for Rockefeller Center, Battery Park City, Park Avenue, Doris C. Freedman Plaza in Central Park, and other city venues; established partnerships with major New York City museums; initiated the In the Public Realm program for emerging artists, and Tuesday Night Talks, a lecture series promoting dialogues between artists, curators, art critics, students, and the public. Has written extensively about contemporary art and lectured at colleges and universities throughout the United States.
Anne Ellegood is Senior Curator at the Hammer Museum. She was Curator of Contemporary Art at the Hirshhorn Museum & Sculpture Garden in Washington DC from 2005-2009. Previously, she was the New York-based Curator for Peter Norton’s collection, and from 1998-2003, she was the Associate Curator at the New Museum of Contemporary Art in New York. Since joining the Hammer in May 2009, Ellegood has organized solo projects with Claude Collins-Stracensky, Rob Fischer, Keren Cytter, Friedrich Kunath, Diana-Al Hadid, Eric Baudelaire, and Tom Marioni. Upcoming Hammer Projects include My Barbarian, Mark Flores, Danica Dakic, and Sara VanDerBeek. For January 2011, she is organizing the 6th Hammer Invitational exhibition, All of this and nothing, with chief curator Douglas Fogle that will feature, among other, sergej Jensen, karla black, fernando oretega, frances stark, evan Holloway, and charles gaines. Ellegood is serving as the curator for the Australian Pavilion for the 2011 Venice Biennale presenting the work of Sydney-based Hany Armanious.
Ellegood has contributed to a number of publications including Artforum, Mousse, and Tate, Etc. Recent writings include the introduction for Phaidon’s Vitamin 3D, a survey of contemporary sculpture; an interview with Haim Steinbach for MATRIX/Berkeley: A Changing Exhibition of Contemporary Art; a catalogue essay for Iván Navarro for the Chilean Pavilion for the 2009 Venice Biennale; a catalogue essay on the work of Sara VanDerBeek for the Tang Museum at Skidmore; a catalogue essay on Bjorn Dahlem for his Quadriennale show in Düsseldorf; and a catalogue essay on Kerry Tribe for her show at the Arnolfini.
Liam GillickGraduate Committee
Liam Gillick is an artist based in London and New York. Solo exhibitions include The Wood Way, Whitechapel Gallery, London, 2002; A short text on the possibility of creating an economy of equivalence, Palais de Tokyo, 2005 and the retrospective project Three Perspectives and a short scenario, Witte de With, Rotterdam, Kunsthalle Zurich and MCA Chicago 2008-2010. In 2006 he co-founded the free art school project “unitednationsplaza” in Berlin. Liam Gillick has published a number of texts that function in parallel to his artwork. Proxemics (Selected writing 1988-2006) JRP-Ringier was published in 2007. The monograph Factories in the Snow by Lilian Haberer, JRP-Ringier, 2007 will soon be joined by an extensive retrospective publication and critical reader. In addition he has contributed to many art magazines and journals including Parkett, Frieze, Art Monthly, October and Art Forum. Liam Gillick has been selected as the artist for the German Pavilion in the Venice Biennale, 2009.
Faculty, CCS Bard
Chrissie IlesGraduate Committee
Chrissie Iles is the Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art. She has a B.A., University of Bristol; postgraduate diploma in arts administration, City University, London. Visiting faculty, sculpture department, Yale University; adjunct professor, Columbia University; external examiner, curatorial course, Goldsmiths College, London. Head of exhibitions, Museum of Modern Art, Oxford (1988–97). Curator of retrospective exhibitions of Marina Abramovic, Louise Bourgeois, Gary Hill, John Latham, Sol LeWitt, and Yoko Ono; Signs of the Times: Film, Video, and Slide Installations in Britain in the 1980s (1990); and Scream and Scream Again: Film in Art (1996), Museum of Modern Art, Oxford. Cocurator, 2004 Whitney Biennial; curator, Into the Light: The Projected Image in American Art 1964–1977 (2001), Jack Goldstein: Films and Performance (2002), Flashing into the Shadows: The Artist’s Film after Pop and Minimalism 1966–1976 (2000), James Lee Byars: The Perfect Silence (2004), Piotr Uklanski, “Summer Love” (2007). Cocurator, 2006 Whitney Biennial: Day for Night, Whitney Museum of American Art. Forthcoming publications include a book on film and art for the Themes and Movements series, Phaidon Press.
Fionn MeadeFaculty, CCS Bard
Fionn Meade is Curator at SculptureCenter, NY, where recent exhibitions include Time Again, with Rachel Harrison, Rosemarie Trockel, Matthew Buckingham, Laure Prouvost, and Moyra Davey, among others, Knight’s Move, a survey of new sculpture in New York, and Leopards in the Temple, with Lothar Baumgarten, Das Institut, João Maria Gusmão and Pedro Paiva, and Lucy Skaer, among others. Additional recent curatorial projects include After Images at the Jewish Museum of Belgium, Nachleben, co-organized with Lucy Raven at Goethe Institut, NY, which engaged Aby Warburg's thinking and Entr'acte at Galerie Catherine Bastide. His writing appears in Artforum, Bomb, Bidoun, Fillip Review, Mousse, and Parkett, among other publications. Recent writing also includes essays on Elad Lassry for the Kunsthalle Zurich (JRP/Ringier), Mark Morrisroe for the Fotomuseum Winterthur (JRP/Ringier), and Kerstin Brätsch and DAS INSTITUT for Parkett. He was a recent recipient of an Arts Writer Grant from The Andy Warhol Foundation, and he also teaches in the MFA program in Visual Arts at Columbia University.
Ingrid SchaffnerGraduate Committee
Ingrid Schaffner is Senior Curator at the Institute of Contemporary Art, University of Pennsylvania, Philadelphia, where past exhibitions include: The Puppet Show 2008, Karen Kilimnik 2007, Accumulated Vision, Barry Le Va 2005, The Big Nothing 2004, Sarah McEneaney 2004, Trials and Turbulence: Pepón Osorio, an artist’s residence at DHS 2004, Polly Apfelbaum 2003, The Photogenic: Photography through its metaphors in contemporary art 2002, and Richard Tuttle, In Parts, 1998-2001 2001. Working independently, she is the curator of: Jess: To and From the Printed Page 2007, Gloria: Another Look at Feminist Art of the 1970s 2002, About the Bayberry Bush 2001, Hannelore Baron: Works 1967-1987 2001, Pictures, Patents, Monkeys, More…on collecting 2001, Secret Victorians 1999, The Cultured Tourist 1998, Richard Artschwager: Photo/Works 1945-96 1996; Chocolate! 1995.
Schaffner’s work often involves a historic premise or subject within contemporary culture. Her exhibition Deep Storage 1997 featured work by fifty artists (Beuys, Duchamp, Lawler, Kilimnik, Rauschenberg, Rhoades, Warhol, among them, with manuscript material from the Aby Warburg Institute, London) to explore collecting, storing and archiving as imagery and process in contemporary art. Julien Levy: Portrait of an Art Gallery 1998 looked at the New York dealer and collector who championed experimental photography and film, and whose gallery presented a first American exhibition of Surrealism in 1932. Her interest in Surrealism stems from The Return of the Cadavre Exquis 1993 an exhibition with The Drawing Center that involved contemporary artists in the collaborative game of Exquisite Corpse. She has written extensively on modern and contemporary art with essays on Richard Artschwager, Marlene Dumas, Arturo Herrera, Yoshitomo Nara, Isamu Noguchi, among others. Her book Salvador Dalí's Dream of Venus: The Surrealist Funhouse at the 1939 World's Fair was published by Princeton Architectural Press.
Peter SpillmannFaculty, CCS Bard
Peter Spillmann (born in Switzerland) is an artist, curator, and cultural producer, and a founding member of the media art collective Labor k3000 in Zurich and the Center for Post-Colonial Knowldege and Culture in Berlin. Since 2006, Spillmann has been a Lecturer at the Lucerne University of Applied Science and Arts, Lucern, and since 2005, has been researching projects in the field of tourism studies, globalization and Art at the University of Applied Science and Arts and at the Zurich University of the Arts.
Faculty, CCS Bard
Tirdad ZolghadrFaculty, CCS Bard
Tirdad Zolghadr is an independent writer/curator and teaches at the Center for Curatorial Studies, Bard College. He’s currently curating the Taipei Biennial 2010 with Hongjohn Lin. Other curatorial work includes the UAE pavilion at the Venice Biennale 09, the long-term traveling project Lapdogs of the Bourgeoisie, with Nav Haq, and the Sharjah Biennial 2005 with Jack Persekian & Ken Lum. As a writer, Zolghadr is a frequent contributor to frieze magazine. Most recently he was author of “Solution 168-185” and editor of “Necessities” (both Sternberg Press, 2010). His novel Softcore was published 2007 (Telegram Books, now translated into German, Italian, French), and the working title of his second novel is Top Ten. Zolghadr is also curatorial advisor to the Artist Pension Trust and editor-at-large for Cabinet magazine.
Marion von Osten
Faculty, CCS Bard