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TWELVE EXHIBITIONS AND A GRADUATE COLLOQUIUM ON CRITICISM TO BE PRESENTED THIS SPRING BY THE CENTER FOR CURATORIAL STUDIES, BARD COLLEGE
Emily M. Darrow
Exhibitions will be on view at the Center for Curatorial Studies, as well as in Newburgh, New York City, and Woodstock
ANNANDALE-ON-HUDSON, N.Y.—The Center for Curatorial Studies (CCS) will present 12 exhibitions this spring, curated by students in its graduate program in curatorial studies and contemporary art. The exhibitions are the culmination of the students’ work for the master’s degree.
Five of the exhibitions—Against Our Will, Between Pass and Fail, Marine Hugonnier, Over Sight, and Seeing Double—will be presented in the Center’s galleries from Sunday, March 6, through Sunday, March 20. In addition to the exhibitions, there will be special events, such as poetry readings and activities for families. An opening reception will be held on Sunday, March 6, from 1:00 to 4:00 p.m.; museum hours are Wednesday through Sunday from
1:00 to 5:00 p.m.
This spring the Center begins construction of new galleries and other renovations; in light of this, seven of the master’s exhibitions will be held elsewhere in the Hudson Valley and in New York City. Four exhibitions—a forest and a tree; Estranged Objects; Fragments of Time; and Looking Both Ways: Three Artists from Korea—will be presented at Yellow Bird Gallery in Newburgh from April 9 to May 8. One exhibition—Framing War—will be on view at the Center for Photography at Woodstock from April 9 to 24. Two exhibitions—Four by Four and Things Fall Apart All Over Again—will be on view at Artists Space in New York City from May 7 to June 4.
On Tuesday, April 26, a graduate colloquium featuring new work in criticism will take place at Bard. Students in the Center’s graduate track in criticism, the visual arts, and exhibition will present their work for the master’s degree. The colloquium will include discussion sessions moderated by members of the faculty. The topics include Curating Crossings in the San Diego/Tijuana Border Region: inSITE 1992 to the Present; Rethinking the Future: The World Trade Center Memorial and the Politics of Memory; The Art of Desiring AIDS; and Transgression and Capitulation.
Thanks to gifts from the Center’s cofounder, Marieluise Hessel, and other donors, including Laura-Lee Whittier Woods, Robert and Melissa Soros, as well as an anonymous donor, construction will begin this spring on a 16,000-square-foot gallery wing, as well as renovations of the library, storage areas, and mechanical systems at the Center for Curatorial Studies. James Goettsch and Nada Andric, architects of the existing Center building, are overseeing design of the new facilities, slated for completion by 2006. The Center for Curatorial Studies was founded in 1990 by Marieluise Hessel and Richard Black.
Center programs and exhibitions are supported by the Center’s Board of Governors, the Friends of the Center for Curatorial Studies, and the Center’s annual benefit for student scholarships and exhibitions. The Center is particularly grateful for the opportunity to present its spring exhibitions in collaboration with Yellow Bird Gallery, the Center for Photography at Woodstock, and Artists Space, and for additional support from the Monique Beudert Fund.
Limited free seating is available on a chartered bus that leaves from SoHo in New York City for the exhibition openings at the Center for Curatorial Studies, Yellow Bird Gallery, and the Center for Photography at Woodstock. The bus returns to New York City after the openings. Reservations must be made in advance by calling the Center at 845-758-7598. Bus transportation is provided through the generosity of Audrey Irmas.
All programs are free and open to the public. For further information, call 845-758-7598, e-mail email@example.com, or visit www.bard.edu/ccs.
March 6–20, 2005
Center for Curatorial Studies, Bard College, Annandale-on-Hudson, N.Y.
Gallery hours: Wednesday through Sunday, 1:00–5:00 p.m.
Opening reception: Sunday, March 6, 1:00–4:00 p.m.
Against Our Will explores the aesthetic representation of violence against women. This selective history traces feminist investigations of domestic and sexual violence through video and photo documentation of performance from the early 1970s through the present. Artists in the exhibition include Beth B., Judy Chicago, Feminist Art Workers, Miranda July, Leslie Labowitz, Suzanne Lacy, Ana Mendieta, Sandra Orgel, Aviva Rahmani, Sacred Naked Nature Girls, and Teresa Serrano.
Curator: Erin Salazar
Between Pass and Fail explores miscegenation and the construction of race in works by Nayland Blake, Adrian Piper, and Kara Walker. The term miscegenation—defined as a mixing of races, especially between blacks and whites—evokes histories of rape and domination, taboo, and notions of “contamination” or “pure races.” Through diverse media and personal narrative, the artists reveal the visual, social, and psychological complexities of miscegenation.
Curator: Nicole J. Caruth
The first monographic presentation in the United States of the work of French-born, London-based artist Marine Hugonnier explores how landscape constructs history and how ideology constructs place. Each of the four films investigates the limitations of medium of cinema. Since the mid ’90s Hugonnier has shown in Paris, London, Berlin, Zurich, Rome, and Amsterdam. Recently she has exhibited monographs at the Yokohoma Arts Foundation in Japan, Dundee Contemporary Arts in Scotland, Centro Galego de Arte Contemporanea in Spain, and Kunstmuseum Lucern, Switzerland. Her work was included in the 2001 Site Santa Fe Biennial exhibition Beau Monde: Towards a Redeemed Cosmopolitan and the 2003 Venice Biennial Exhibition Utopia Station.
Curator: Risa Puleo
In Over Sight, Spencer Finch, Roni Horn, and Kerry Tribe challenge our assumptions of what we can and cannot see. Weaving image with language, each alludes to a hidden presence. Footnotes annotate photographs of water to hint at what lurks below, a haiku inspires watercolors that reveal the gaps in our perception, and voiced questions haunt videos of landscapes with conjectures on the past and future. Suggesting blind spots and uncertainty in our sight and memory, their works bring us to the threshold between a visible surface and the unknown beyond.
Curator: Jen Mergel
While the slide projection has been widely used for the reproduction of artwork, there is also a rich history of its use in the creation of artwork. Seeing Double brings together light and slide projections by Giovanni Anselmo, Iñaki Bonillas, Ceal Floyer, Sherrie Levine, Michael Snow, and James Turrell that question what and how we see. These works shift between illusion and documentation, representation and abstraction, presence and absence according to how the viewer chooses to “see” the work.
Curator: Jenny Moore
March 6, Sunday
Performance: The Trachtenburg Family Slideshow Players
Opening Celebration of Seeing Double featuring The Trachtenburg Family Slideshow Players, an indie-vaudeville conceptual art-rock band that composes pop-rock musical exposés based on the contents of slide collections found at estate sales, garage sales, and thrift stores. The New Yorker has crowned the Slideshow Players “arguably the best-known local act of the millennium.” Multipurpose room, Bertelsmann Campus Center, 4:00 p.m.
March 9, Wednesday
Poetry Reading: Over Sight, Under Words
Reading by Bard faculty including John Ashbery, Robert Kelly, Ann Lauterbach, David Levi Strauss, and Bard students Annie Christian, Thalia Forbes, Jenny Hendrix, Zachary Kitnick, Johanna Klotz, Patricia No, and Patrick Tesh. The reading will touch on themes such as the friction between image and language, the paradox of rendering the unseen visible, and the significance of making the forgotten memorable. Faculty will read from their own selected works, and students will present new writing in response to the works in the exhibition Over Sight. Center for Curatorial Studies, 5:30 p.m. (Reception with the poets begins at 5:00 p.m.)
March 16, Wednesday
Artist’s Talk: Kerry Tribe in Over Sight
Los Angeles-based artist Kerry Tribe presents recent film and video works including those presented in the exhibition Over Sight. The talk concludes with the East-coast premiere of the 16-mm film Northern Lights (2005). Avery Film Center Theater, 5:30 p.m., followed by a reception with the artist at 6:30 p.m.
March 19, Saturday
Interactive Children’s Tour of Over Sight: The Butterfly Hunt!
Chase away winter and find spring surprises in The Butterfly Hunt! This FREE tour of the exhibition Over Sight is designed for children of all ages—especially those 10 and under—to explore this unique expedition through the CCS museum
galleries. For 90 minutes participants can scout the show for glimpses of butterflies; test their snow vision; listen for sounds of tropical swamps; discover the colors of moonlight; ask and answer questions; and enjoy milk and cookies after the fun of the hunt! The tour will be led by exhibition curator, Jen Mergel. (Tips: for comfort, please wear casual clothes with pockets. Children under 10, please bring an adult.) Center for Curatorial Studies,
April 9 – May 8, 2005
Yellow Bird Gallery, 19 Front Street, Newburgh, N.Y.
Gallery hours: Wednesday–Saturday, 11:00 a.m. – 7:00 p.m.; Sunday 12:00–5:00 p.m.
Opening reception: Saturday, April 9, 1:00–4:00 p.m.
The five artists included in a forest and a tree, Yael Bartana, Phil Collins, Esra Ersen, Emily Jacir, and Sislej Xhafa, explore different ways of looking at self and other. Immigration, exile, and displacement are some of their themes. These artists all use video to suggest an alignment between particular and universal experiences.
Curator: Pelin Uran
Estranged Objects investigates the literal and metaphorical production of history. Allan McCollum fabricates models copied from natural casts of dinosaur footprints and other fossils. Silvia Gruner manipulates actual pre-Columbian artifacts in performances that explore personal and public relationships to the past. Dario Robleto amasses fragments of material culture and refashions them into contemporary artifacts.
Curator: Paula A. Bigboy
Fragments of Time presents the works of artists of different generations who reflect on the nature of a moment captured. Working in photography, video, and film, Marina Abramović and Ulay, John Coplans, Stefania Galegati, Robert Mapplethorpe, and Pietro Ruffo investigate the vehicle of the body that changes through time. In their works the artists view time as a positive experience where past, present, and future coexist.
Curator: Camilla Pignatti Morano
Looking Both Ways: Three Artists from Korea introduces artists Kisoo Kwon, Eun-ae Seo, and Seung Ho Yoo to America. With affection and irony, these members of a new generation reinterpret traditional Korean ink painting and the work of famous masters. They extract elements from historical Korean culture, recycling the old by means of visual puns and humor, in drawings, paintings, installation, and animation.
Curator: Jyeong-Yeon Kim
For travel directions and other information about Yellow Bird Gallery, see www.yellowbirdgallery.com or call 845-561-7204 (Yellow Bird Gallery) or 845-758-7598 (Center for Curatorial Studies).
April 9–24, 2005
Center for Photography at Woodstock, 59 Tinker Street, Woodstock, N.Y.
Gallery hours: Wednesday–Sunday, 12:00–5:00 p.m.
Opening reception: Saturday, April 9, 5:00–7:00 p.m.
Framing War explores the accelerated process by which photographs of war move from news contexts to books and museum exhibitions. Alexandra Boulat, Ron Haviv, Gary Knight, and Antonin Kratochvil present photographs from the war in Iraq. Their coverage of this conflict has figured prominently in international news, and has been exhibited in museums and galleries worldwide. This exhibition uses both traditional and nontraditional image formats to reveal important changes in the way that contemporary photojournalism is produced and disseminated.
Curator: Judy Ditner
For travel directions and other information about the Center for Photography at Woodstock, see www.cpw.org or call 845-679-9957 (Center for Photography at Woodstock) or 845-758-7598 (Center for Curatorial Studies).
May 7 – June 4, 2005
Artists Space, 38 Greene Street, New York City
Gallery hours: Tuesday–Saturday 11:00 a.m. – 6:00 p.m.
Opening reception: Saturday, May 7, 6:00–8:00 p.m.
The human figure is placed within architectural forms in Four by Four: Projected Works by Beatriz Viana Felgueiras, Çagla Hadimioglu, Hassan Khan, and Moataz Nasr. These artists subvert how systems are understood to operate by positioning people in situations to provoke resistance or an intervention. Hadimioglu uses a documentary mode in a monumental Iranian mosque. Felgueiras disrupts the modernist cube. Nasr excerpts and restages a monologue from the Egyptian film classic El Ard. Khan, working with actors, uses sites throughout Cairo as stages for performances.
Curator: Yasmeen Siddiqui
In Things Fall Apart All Over Again, three artists employ strategies of construction, destruction, and transformation to explore the architectural structure of the house. Using everyday materials, Carlos Bunga, Heather Rowe, and Michael Sailstorfer build elaborate site-specific installations. Bunga constructs a huge cardboard house, which he then collapses through strategic cuts. Rowe creates mock rooms in the interstices of makeshift walls. Sailstorfer’s video (in collaboration with Jürgen Heinert) shows a little wooden house consuming itself.
Curators: Cecilia Alemani and Simone Subal
Four by Four
Roundtable: Constructing the Transnational Artist
A critical, roundtable conversation about the term “transnational” and its function in art contexts. Represented are the voices of artists, critics, curators, and gallery owners.
Moderated by Yasmeen Siddiqui and Pelin Uran
Made possible by the Monique Beudert Award
El Ard/The Land (1969), director: Youssef Chahine, Egypt
This film was adapted from Abdel Rahman al-Sharqawi’s well-known novel of the same title. Eight years in the making, this epic about feudalism in rural regions chronicles the struggle of a small village of peasants against the careless inroads of the local large landowner. El Ard shows why political oppression doesn’t necessarily lead to a sense of solidarity among the disinherited.
La Ciénaga/The Swamp (2001), director: Lucrecia Martel, Argentina
No hidden truths are to be found in this film, no links between cause and effect in these events that affect two families. Rather than building to a dramatic crescendo, La Ciénaga is comprised of innocuous situations that often lead to nothing, but sometimes end fatally. This film depicts a society that has lost its traditions, but which cannot afford the security that compensates for this loss. This is a society that hopes nothing will ever change, and then lives in terror of everything repeating itself indefinitely.
For travel directions and other information about Artists Space, see www.artistsspace.org or call 212-226-3970 (Artists Space) or 845-758-7598 (Center for Curatorial Studies).
Graduate Colloquium: New Work in Criticism
Tuesday, April 26
F. W. Olin Humanities Building, Room 102, Bard College
Presentations begin: 4:30 p.m.
Reception: 7:00 p.m.
Curating Crossings in the San Diego/Tijuana Border Region: inSITE 1992 to the Present
inSITE is a series of exhibitions in the San Diego/Tijuana border region that have evolved from a community-based project to an international art world event. Examining the funding and support of inSITE reveals connections between cultural production and regional development. The artists’ works created for the exhibitions comment on the rapidly changing urban landscape of the region, the representation of the cities, and the economic, social, and racial inequalities around the increasingly complex and contradictory border. Presenter: Ramona J. Piagentini Rethinking the Future: The World Trade Center Memorial and the Politics of Memory
The impassioned search for an appropriate memorial for victims of the events of September 11, 2001, occurred in the midst of international concern over the politics of constructing public memory. Rethinking the Future examines recent public commemoration in the United States and abroad. It presents case studies of American memorials, examines critical “antimonumental” works, and looks at the aesthetics, processes, and controversies of rebuilding at Ground Zero. Presenter: Lyra Kilston The Art of Desiring AIDS Representations made by black artists and AIDS arts activists in the mid ’80s frame new ways to look at difference, illustrating fears and fantasies about Otherness. If we assemble this sign system—visual art about AIDS, prevention messages, drug advertisements, and other imagery—we discover a shared grammar about “difference” that cuts across opposing political world views. Presenter: C. Davida Ingram Transgression and Capitulation Recent exhibitions and the critical responses to them have identified an “adolescent impulse” in contemporary art. Transgression and Capitulation references art history, psychology, socio-anthropology, and consumer culture to reveal a history of artistic practices relating to mythic narratives of youth. Adolescence offers artists models of both critical resistance and indulgence in fantasy, fanaticism, violence, and self-destructive behavior. Presenter: Paul Brewer # # # (2/22/05)
This event was last updated on 10-19-2006