From left to right: Cheryl Donegan, Head, 1993, Marieluise Hessel Collection, Hessel Museum of Art, Center for Curatorial Studies, Bard College. Courtesy Electronic Arts Intermix (EAI), New York; Birgir Andresson, N buar, 2004, Courtesy of the estate of the artist and i8 Gallery, Reykjavik; Superstudio, Supersurface-Life, 1972, Courtesy of the Superstudio archive, Italy.
May 7, 2008
Spring Exhibitions May 11 – 25
Spring Exhibitions in the CCS Galleries, May 11 – 25, 2008
Opening reception: Sunday, May 11, 1:00 – 4:00 p.m.
Center for Curatorial Studies and
Hessel Museum of Art
Bard College, PO Box 5000
Annandale-on-Hudson, NY 12504-5000
Modernism: On and Off the Grid
Martin Beck, VALIE EXPORT, Dan Graham, Dorit Margreiter, and Superstudio
This exhibition brings together works by four artists and one architectural collective that repeat, revise, or reject a legacy of Modernist architecture and design, exploring form’s relationship to history, subjectivity, and social space.
Curated by Niko Vicario
Vito Acconci, Cheryl Donegan, Mike Kelley, Paul McCarthy, Sturtevant, and Hannah Wilke
Act Out presents video works by artists who use their bodies, or others’, to resist and repel. They emphasize the consequences and processes that occur when outside forces are integrated with those of the body, intentionally blurring distinctions between the personal and the performative.
Curated by Tyler Emerson-Dorsch
Degrees North: Six Artists and the Icelandic Landscape
Birgir Andrésson, Douwe Jan Bakker, Hreinn Friofinnsson, Kristján Guomundsson, Sigurour Guomundsson, and Magnús Pálsson
This exhibition brings together work by six artists who utilize the Icelandic landscape, language, literary tradition, and culture as source material for their conceptual artworks.
Curated by Nicole Pollentier
Wednesday – Sunday, 1:00 – 5:00 p.m.
Free and open to the public.
Free transportation is available on a chartered bus that leaves from New York City for the opening reception. The bus returns to New York after the opening. For reservations, call 845.758.7598 or write email@example.com
For more information, call CCS Bard at 845.758.7598, write firstname.lastname@example.org , or visit http://www.bard.edu/ccs
Also on view:
Hessel Museum of Art, March 16 – May 25
Second Thoughts presents exhibition as revision. Curated by 14 graduate students at the Center for Curatorial Studies, it is a direct response to Exhibitionism (October 20, 2007 – February 3, 2008), a series of autonomous and idiosyncratic micro-exhibitions that were curated by Matthew Higgs for each of the 16 galleries in the Hessel Museum of Art. By engaging amplification, erasure, extension, and redress, Second Thoughts seeks to alter the strategies utilized by Higgs in Exhibitionism to progressively revise the
Lisi Raskin: Mobile Observation (Transmitting and Receiving) Station
CCS Bard Audrey and Sydney Irmas Atrium, April 15 – September 7, 2008
Mobile 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. Throughout her journey, Raskin will send art works and ephemera 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. The entire Audrey and Sydney Irmas Atrium has been re-configured into a plywood bunker cum post office replete with satellite dish, an artwork receiving station, and an audio and video diary station, which will be updated with intermittent transmissions from the field. The installation will be on view at CCS Bard daily from April 13 – September 7, 2008.
These exhibitions were made possible with support from the Rebecca and Martin Eisenberg Student Exhibition Fund, Mitzi and Warren Eisenberg, and the Patrons, Supporters and Friends of the Center for Curatorial Studies. Additional support provided by the Monique Beudert Award and the French Embassy in the US. Special thanks to the Robert Mapplethorpe Foundation.