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2019 CCS Spring Opening-0070.jpg
2021 Graduate Student Exhibitions and Projects
April 3 – May 30, 2021
→ Hessel Museum of Art, CCS Bard Galleries
Exhibition Category
Collected exhibitions

Due to current Bard College Covid-19 safety protocols, The Hessel Museum of Art and the CCS Bard galleries are currently open to a limited number of visitors by reservation, and to Bard College students, staff, and faculty without reservation. To read our Covid-19 Courtesy Code, please visit this page.

To reserve your free timed ticket, please visit this page.

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
There is a ceramic sculpture mounted to a white wall with several components. Two curved, pink-red cones face each other-- their exteriors look like blowfish or multiple dolloped Hershey kisses. Inside, the cones are golden and luminescent, with bizarre misshapen bulbs coated in fluorescent green. Two metallic rods attach to the back of each cone, curving toward the wall. The cones lean into each other like long lost twins with their mouths wide open, floating in space.
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.
Curated by Paulina Ascencio Fuentes
An archival document from the registrar’s office at the American Museum of Natural History, dated September 11, 1919. Combining printed information and handwriting, the document informs the accession number assigned to the Mayan sculptures acquired from the Cruger Family, describing them as “Yucatan monuments.”
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
Curated by Caitlin Chaisson
A towering projection screen with a wooden scaffold for a base appears in a dark theater. On the screen, a pyramid of bright yellow, sulphurous powder sits atop dark soil in the middle of a model landscape. Powder accumulates around the base of the heap, spreading out towards several blackened, spindly, upright twigs that resemble dead trees. Grey rocks appear on the outer edges of the makeshift horizon, pressed up against a mottled sky painted in blue and white.
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.
Kate Millett: Terminal Piece
Curated by Jenni Crain
A black and white, landscape-oriented image from 1972 documenting Kate Millett’s installation called *Terminal Piece*. A barrier of wooden-slatted bars spans the length of an otherwise vacuous, cement industrial space. Illuminated from above, and set behind these bars, are two long rows of wooden folding chairs facing out towards the viewer. A mannequin of a lone, Caucasian, female-presenting figure is seated in one chair in the back row (located at the viewer’s right). The rest remain empty.
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.
Curated by Natasha Matteson
In a colorful collage, multiple posters of a dancing Michael Jackson mingle with two metallic panels and a poster of Michelangelo's famous sculpture, David. In one poster, MJ is mid-dance-move balancing on his tip-toes; he seems to defy gravity. Bronze spray paint adorns the head of David and the head and chest of one of the Michaels. The body of another Michael, covered by an angled rectangle of clear plastic, seems to meet a cloud of bronze paint mid-air. That Michael has a smaller Michael attached to it with blue tape. Soft curved stripes of red, green, and turquoise spray paint, and a hard dripping stripe of white, overlay the upper right side of the piece. In the lower left corner is a small reproduction of an elaborate gilded triptych depicting the Three Kings at the birth of Jesus.
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
A person wearing a bikini top and short jeans is contorted, touching the floor only with the back of the head and the tip of the feet. The person's butt is pointing upward, as are the two arms that vertically lift middle fingers. The marks on the white powder over the dark floor seem to keep traces of intense movement. The person is bathed in red and yellow lights
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
On a light grey floor, aluminum and steel fines compose themselves into straight lines, squares, curves, and four-pointed stars, emerging from formless heaps.  Melted and misshapen bricks are arranged amongst the powdered metal.
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.
Curated by Camila Palomino
The inside of a store vitrine, dozens of multi-colored glass perfume bottles sit on two shelves. Many bottles have a round bright yellow sticker placed on them.
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
Taken by the photojournalist Erich Hartmann in 1982, this vibrant, color photograph features a close-up of an IBM circuit board for a computer. Taken at a slight angle, Hartmann shows three rows of three power amplifiers, with the fourth row cropped and pictured nearly out of frame. They appear as if they are rectangular-shaped skyscrapers, with lights dazzling across thousands of windows. The power amplifiers in the foreground are crisp and in focus, and as the image recedes, they become slightly blurred. The overall hue of the photograph is a burnt orange color, with a few turquoise highlights streaked across the body of specific hardware parts caused from the camera’s flash.
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
Curated by Gee Wesley
Installation photograph documenting a room within the art exhibition *The Black School X Kameelah Janan Rasheed* organized at the New Museum in New York. In the center of the room is a table for workshops and handling archival materials. Behind the table on the walls are various wall-mounted text and abstract artworks by artist Kameelah Janan Rasheed.
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 Information for Hessel Museum of Art and CCS Bard Galleries

CCS Bard and the Hessel Museum are located in a single-level facility on the Bard College campus in Annandale-on-Hudson, NY. 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 questions or requests about access, please write to Casey Robertson, Community Outreach Coordinator, at or phone 845-758-7598 at least two weeks before your visit or the event you plan to attend and we will make every effort to assist 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 Casey Robertson at with feedback about your visit. For more information on accessibility, please visit this page.