Drew Kahuʻāina Broderick and Mathilde Walker-Billaud will lead a tour of the exhibitions they curated in the gallery of the Hessel Museum of Art (as part of the requirements for the master of arts degree at CCS Bard), followed by a presentation by Aaron Glass, curator of Franz Boas, George Hunt and the Making of Anthropology at Bard Graduate Center Gallery, in New York City.
like drawing a line in the sand at the ocean’s edge
Hessel Museum of Art, Bard College, from April 7 to May 26, 2019
Curated by Drew Kahuʻāina Broderick
The Story Box: Franz Boas, George Hunt and the Making of Anthropology
Bard Graduate Center Gallery, New York City, NY 10024, from Feb 14 to Jul 7, 2019
Curated by Aaron Glass
this is the no thing that we are
Hessel Museum of Art, Bard College, from April 7 to May 26, 2019
Curated by Mathilde Walker-Billaud
Drew Kahuʻāina Broderick is an artist and independent curator. He is the founder of Honolulu-based contemporary art platform SPF Projects and a contributing member of Hawaii-based artist collective PARADISE COVE. Broderick holds a BA in Biology and Studio Art from Wesleyan University, Connecticut and is currently pursuing a MA in Curatorial Studies at the Center for Curatorial Studies, Bard College, New York. Recent group exhibitions include CONTACT ZONE (2018) curated by Keola Rapozo and Michael Rooks and Honolulu Biennial 2017: Middle of Now | Here curated by Fumio Nanjo and Ngahiraka Mason. Forthcoming curatorial projects include Revisiting Kealakekua Bay, Reworking the Captain Cook Monument and A Recent History of Land Struggles in Hawaiʻi: 1976-Present.
Aaron Glass’s research focuses on various aspects of First Nations visual art and material culture, media, and performance on the Northwest Coast of North America, both historically and today. Themes recurring in my work include colonialism and indigenous modernities, cultural brokerage and translation, the politics of intercultural exchange and display, discourses of tradition and heritage management, and cultural and intellectual property. His dissertation, along with a companion film, In Search of the Hamat’sa: A Tale of Headhunting, examines the ethnographic representation and performance history of the Hamat’sa or “Cannibal Dance” of the Kwakwaka’wakw (Kwakiutl) of British Columbia. In Fall 2010, he curated, along with his students, the 2011 Bard Graduate Center Focus Gallery exhibit, Objects of Exchange: Social and Material Transformation on the Late Nineteenth-Century Northwest Coast. Current projects include collaborating with the U’mista Cultural Centre to restore and present Edward Curtis’s 1914 silent film, In the Land of the Head Hunters, and to create a critical, annotated, digital edition of Franz Boas’s pioneering 1897 monograph on the Kwakwaka’wakw culture.
Mathilde Walker-Billaud is a cultural producer and curator based in NYC. She worked in Paris as an editor for art institutions and presses. In 2008, she joined the Cultural Services of the French Embassy in New York. She programmed multidisciplinary programs related to fiction and non fiction writings translated from French. From 2010 to 2014, she was a Program Officer at Villa Gillet, a center for fiction and non-fiction based in Lyon, France, and co-programmed and produced five editions of the international festival of performances and ideas “Walls and Bridges.” Walker-Billaud currently programs multidisciplinary thematic workshops for documentary artists and curates a series of mixed media talks about spectatorship entitled “What You Get Is What You see” both at UnionDocs, a Center for Documentary Arts in Brooklyn. She has also worked for artist Nora Chipaumire as well as radio host and producer Benjamen Walker.