CCS BARD

In her solo exhibition Tell them I won’t be long, Tammie Rubin (b. Chicago, IL) thinks through the subject of grief with newly commissioned works and a survey of select sculptures. She combines her prior work—made over a decade ago—with a new installation, allowing collective loss to entangle with and foment personal grief.

Uxmal-on-Hudson follows the travels of a collection of Mayan sculptures and stelae from Mexico to the United States in the nineteenth century. The exhibition features newly commissioned work by artist Claudia Peña Salinas, which engages in an exercise of speculation to render visible what exists on the margins of the accounts of the explorers, the guardian-collector, and the ethnographic museum.

While the Underground Flickers is a group exhibition of moving image and sculpture by Bonnie Devine, Wally Dion, and Sandra Lahire, which address the social, environmental, and technopolitical consequences of radioactive uranium mining in North America.

Haze Publication is a single-issue online publication that looks into the representation of Hong Kong’s Water Revolution since 2019 in contemporary art and culture. With a focus on the methods and ethics of representation, the publication invites activists, artists, curators, journalists, and researchers to share their reflections and responses to the critical time of change and self-determination.

In 1972, artist, writer, and activist Kate Millett (1934–2017) presented Terminal Piece at the Women’s Interart Center in New York City. The exhibition emerged from Millett’s vehement critique of the deep-seated structures that instate violence within everyday lived experience. In restaging the original installation, Kate Millett: Terminal Piece extends a multiplicity of readings across temporal and spatial spheres, prompting visitors to consider how the issues Millett contested through her work persist today, nearly half a century later.

What if exhibition-making consisted simply of a rule set generating a selection of artworks? Criteria is an exhibition of artworks from the Marieluise Hessel Collection that complicates the divide between algorithmic and curatorial decision-making. The public programming developed in conjunction with the exhibition further addresses broad questions around algorithmic bias, artificial intelligence, decision-making, and applications of systems thinking in the museum sphere.

Eclipse is the first work by Brazilian artist Castiel Vitorino Brasileiro (b. 1996, Vitória, Brazil) to be exhibited in the US and it highlights her original approach to matters of healing and decoloniality. This newly commissioned immersive installation uses spiritually active materials—such as soil, salt, charcoal, cloth, stone, water, and light—to form a mandala whose shape references dikenga, the Bantu-Kongo cosmogram. An emblem of spiritual continuity, dikenga symbolizes the spiral movement of time and represents life as a series of continuous deaths and rebirths.

washed up is a group exhibition of three artists who address environmental precarity by transforming accumulations of salvaged debris into site-specific sculptural works. They compile material indexes of waste–broken glass, discarded feathers, chipped bricks–to visualize larger flows of extraction, production, and pollution, which otherwise go unnoticed.

C21OWO is a solo presentation of new works by artist Rose Salane that looks to the iconic department store Century 21 as a point of departure for a consideration into how memory is technologically mediated and registered.

Yacht Metaphor: The Collected Works of @CoryInTheAbyss is a browser-based exhibition that explores the work of American artist, poet, and meme creator Jenson Leonard, showcasing a selection of internet memes created between 2015 and 2021 under the artist’s online alias, @CoryInTheAbyss. Through a custom-made website, the exhibition invites viewers to engage with these memes both as a form of contemporary net art and as an alternative educational tool.

Cripping Curatorial Studies (CCS) engages members of the community at the Center for Curatorial Studies, Bard College (CCS Bard) in practicing accessibility that is made by, with, and for us and everyone who wants to get with us. The project is grounded in liberatory access—a way of practicing accessibility that is in support of justice, interdependence, liberation, and intimacy—and understands accessibility as a tool to dismantle ableism and as a constitutive part of just curatorial practices. CCS unfolds as ongoing interventions and interferences into the graduate program, the Hessel Museum of Art, and the culture and community of CCS Bard.

Classroom Arsenal is an exhibition that reflects on the histories, protocols, and networks of an educational system built with the goal of corporate technological efficiency. Through historical archives, an immersive video installation by artist Shawn Maximo (b. 1975), and a series of photographs by Erich Hartmann (b. 1922; d. 1999), the exhibition aims to question what is at stake in our reliance on corporate enterprises that mediate learning and pedagogical efficacy.

of things not seen explores the relationship between Blackness, bodily practice, and the limits of the archive through a set of installations and workshops by artists Jeremy Toussaint-Baptiste, Kameelah Janan Rasheed, and Steffani Jemison. The project addresses the capacity for embodied knowledge—including movement, spoken language, oral history, and memory—to archive and restore otherwise absent accounts of Black life.