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2021 Graduate Student Exhibitions and Projects
April 3 – May 30, 2021
→ Hessel Museum of Art, CCS Bard Galleries
Exhibition Category
Collected exhibitions

For more information on visiting and to reserve your timed entry see here.

Thirteen exhibitions with more than forty artists, offering a wide-ranging museum presentation organized by the 2021 graduating class of the master of arts program in curatorial studies.

The student-curated exhibitions and projects at CCS Bard are part of the requirements for the master of arts degree, and are made possible with the support from the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Audrey and Sydney Irmas Charitable Foundation; the Lucky One Foundation; the Robert Mapplethorpe Foundation; the Board of Governors of the Center for Curatorial Studies; the CCS Bard Arts Council; and by the Center’s Patrons, Supporters, and Friends.

Included exhibitions
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.
While the Underground Flickers
Curated by Caitlin Chaisson
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 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, and researchers to share their experiences and reflections on their role as protesters and, through their creative practices, to expand the meanings of resistance.
Kate Millett: Terminal Piece
Curated by Jenni Crain
Kate Millett: Terminal Piece is a restaging of the artist and writer’s original installation Terminal Piece for the first time since its initial exhibition at the Women’s Interart Center, New York, in 1972. The exhibition indicates the importance of this work within Millett’s practice as both an artist and a writer, as it dramatizes her contestation of oppressive cultural structures that punish those who deviate from established norms
Uxmal-on-Hudson
Curated by Paulina Ascencio Fuentes
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.
Criteria
Curated by Natasha Matteson
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.
Castiel Vitorino Brasileiro: Eclipse
Curated by Bernardo Mosqueira
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
Curated by Christine Nyce
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
Curated by Camila Palomino
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
Curated by Allie / A.L. Rickard
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
Curated by Candice Strongwater
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. The exhibition presents archival photographs and ephemera from the IBM and Bell System Pavilions of the 1964 New York World’s Fair, as well as a newly commissioned artwork by artist Shawn Maximo, made in response to contemporary issues surrounding the explicit and implicit function of educational technologies and their use within classroom environments.
of things not seen
Curated by Gee Wesley
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.

Access Policy for Hessel Museum of Art and CCS Bard Galleries

CCS Bard and the Hessel Museum are located in a single-level facility. Parking is available outside of the building in an ADA-compliant parking lot which has four accessible parking spaces at the end of the paved entrance way. If you have specific questions or requests about access, please write to ccs@bard.edu at least two weeks before your visit or the event you plan to attend and we will make every effort to accommodate you. During your visit, you may seek the assistance of Security and Visitor Service staff members who are present at the CCS Bard reception desk and throughout the exhibitions. Please don’t hesitate to contact ccs@bard.edu with feedback about your visit. For the full Access Policy please see here.