SPRING EXHIBITIONS PRESENTED BY CENTER FOR CURATORIAL STUDIES AT BARD CONTINUE AT THE YELLOW BIRD GALLERY IN NEWBURGH AND THE CENTER FOR PHOTOGRAPHY AT WOODSTOCK
A graduate colloquium in criticism will be held at Bard; May exhibitions on view at Artists Space in New York
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.
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: Adolescence in Contemporary Visual Culture.
Thanks to gifts from the Center’s founder, 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.
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 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 firstname.lastname@example.org, or visit www.bard.edu/ccs.
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.
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. 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
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. The exhibition presents photographs from the war in Iraq by four of the founding members of the photo agency VII - Alexandra Boulat, Ron Haviv, Gary Knight, and Antonin Kratochvil - whose coverage of world events figures prominently in international news and in books and exhibitions worldwide.
Through photographs, multimedia presentations, and the books and magazines in which these images appeared, this exhibition investigates recent changes in the field of photojournalism - digital advances, embedded and unilateral reporting, and the transition from news contexts to exhibitions. By presenting photographs taken during the war in Iraq, Framing War asks the viewer to consider how a photograph's context affects one's response to the image and the event pictured.
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).
Panel DiscussionDiscussion addresses the presentation of photojournalism in magazines, books, and exhibitions. Speakers include photographers, critics, publishers, and curators. Center for Photography at Woodstock, 59 Tinker Street, Woodstock, N.Y. 1:00 p.m. 845-679-9957
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.
Transgression and Capitulation: Adolescence in Contemporary Visual Culture
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
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
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
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