Center for Curatorial Studies Master of Arts In

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CENTER FOR CURATORIAL STUDIES

MASTER OF ARTS IN CURATORIAL STUDIES

BARD COLLEGE ↪ APPLY ONLINE 3–4 The Graduate Program 5–6 Hessel Museum 7-9 Library and Archives 10–15 Curriculum 16–22 Faculty ↪ REQUEST A TOUR 23 Residencies 24-26 Public Programs & Publishing 27 Audrey Irmas Award for Curatorial Excellence 28-31 Alumni/ae GET MORE INFO 32-35 Application Requirements ↪ 36-42 Bard College 43 Credits and Captions The graduate program at the Center for Curatorial Studies, Bard College (CCS Bard) is an intensive course of study in the history of contemporary art, the institutions and practices of exhibition making, and the theory and criticism of contemporary art since the 1960s. The program is broadly interdisciplinary and provides practical training and experience within a museum setting. Its international faculty includes curators and other museum professionals, scholars in the humanities and social sciences, artists, and critics. The two-year curriculum is specifically designed to deepen students’ understanding of the intellectual and technical tasks of curating exhibitions and projects around contemporary art, particularly within the complex social and cultural situations of present-day arts institutions, as well as focusing intensively on interpretive and critical writing. CCS Bard initiated its graduate program in curatorial studies in the Fall of 1994. Hundreds of illustrious curators, critics, scholars, artists, and other art professionals have taught seminars or lectured in practicums and courses since the program began. CCS Bard alum- THE GRADUATE ni/ae now include over 275 figures working prominently in the field in the U.S. and abroad. PROGRAM

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 3 Bard College MISSION STATEMENT

For the past 20 years, the Center for Curatorial Studies, Bard College has housed one of the world’s leading graduate programs dedicated to the study of historical models for the presentation and reception of art and the development of innovative methodologies. Originally conceived in the early 1990s to address the burgeoning, largely unexamined terrain of international curatorial practice, the graduate program has since evolved into an institution poised to account for artistic production and circulation in light of contemporary subjects of inquiry including, but not limited to: globalization and neoliberalism; modes of networks and distribution; technology and aesthetics; spatial politics; and artistic and archival research. Seen through the lens of curatorial studies, the vectors of such a broad list take on real specificity, allowing for reflection on the growing history of curatorial practice while providing a firm foundation for experimental projects in the field. CCS Bard’s graduate program is a two-year course leading to a Master of Arts degree. It is uniquely positioned within the larger Cen- ter’s tripartite resources, which include the CCS Bard Library and Archives and the Hessel Museum of Art, with its rich permanent collection. The graduate program’s curriculum emphasizes the interrelatedness of practice and discourse, disavowing ahistorical or anti-intellectual approaches even while encouraging alternative and oppositional interpretations of artistic, institutional, and cultural histories. Students, faculty, visiting artists, curators, and researchers make up a shifting community of thinkers and generate an engaged investigation into the stakes and claims for curating and its associated tasks. The graduate program’s objective is to provide a sustained platform for dialogues around curatorial prac- Graduate Program tice as it relates to art and cultural histories and as it attends to and Hessel Museum configures possible future endeavors. Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 4 Bard College HISTORY OF THE CENTER FOR CURATORIAL STUDIES, BARD COLLEGE AND HESSEL MUSEUM OF ART

The original Center for Curatorial Studies facility, designed by archi- tect Jim Goettsch and Nada Andric, was completed in 1992. In 2006, CCS Bard inaugurated the Hessel Museum of Art, a 25,000 square-foot addition to present major exhibitions, including those curated from the permanent collection. The Hessel Museum of Art was part of a $10 million development that was primarily funded by CCS Bard co-founder Marieluise Hessel with additional support from her husband, Edwin Artzt. Support for the renovation of the CCS Bard Library and Archives, and academic wing of the building was provided by Melissa Schiff Soros and Robert Soros, and Laura-Lee Whittier Woods. In 2016, The Center for Curatorial Studies and Hessel Museum of Art completed a major expansion and interior re-build of its facilities designed by New York-based HESSEL architects, HWKN (Hollwich Kushner). In addition to doubling the number of teaching spaces and classrooms in the building, there was an interior re-build of the CCS Bard Library and Archives, including a new 3,600 square foot Archives, Special Collections, and MUSEUM Collection Teaching Gallery designed by artist Liam Gillick, which includes a large wall drawing in colored ink wash by Sol LeWitt, Wall drawing #475, Double asymmetrical pyramids (1986), and two OF ART new wall vinyl acquisitions by Louise Lawler, all from the permanent collection. CCS Bard’s permanent collection of contemporary art includes more than 3,000 works by more than 400 of the most prom- inent artists of the 20th and 21st centuries. Exhibitions Graduate Program are presented year-round Hessel Museum in the CCS Bard Galleries Library and Archives and Hessel Museum of Art, Curriculum providing students with the Faculty opportunity to work with Residencies world-renowned artists and Public Programs curators. The exhibition Curatorial Award Alumni/ae Application Requirements 5 Bard College program and the permanent collection also serve as the basis for Jannis Kounellis, Sherrie Levine, Sol LeWitt, Glenn Ligon, Robert a wide range of public programs and activities exploring art and its Kushner, Louise Lawler, An-My Lê, Robert Longo, Ana Mendieta, role in contemporary society. All CCS Bard exhibitions and public Josiah McElheny, Laurel Nakadate, Bruce Nauman, Cady Noland, programs are free and open to the public. Gabriel Orozco, Nam June Paik, Philippe Parreno, Raymond Petti- The foundation of the permanent collection is the Marieluise Hessel bon, Sigmar Polke, William Pope.L, Seth Price, David Salle, Lorna Collection, which has been the resident collection of CCS Bard Simpson, Nancy Spero, Haim Steinbach, Rosemarie Trockel, Kiki since the early 1990s, and has become a leading resource in the Smith, Hito Steyerl, Andy Warhol, Gillian Wearing, William Wegman, collection and study of works and contemporary culture from the Franz West, Christopher Wool, Martha Wilson, and Lisa Yuskavage. 1970s to the present day. The Marieluise Hessel Collection prides itself on its major holdings Originating in Munich with major works by Gerhard Richter, Georg of photographic works by VALIE EXPORT, Nan Goldin, Nikki S. Lee, Baselitz, Sigmar Polke, Blinky Palermo, and Imi Knoebel, the Mari- Robert Mapplethorpe, Cindy Sherman, and Karlheinz Weinberger. eluise Hessel Collection is generous in scope and holds notable CCS Bard is also the proud recipient of artworks that have been gen- representations from many of the foremost developments in erously given to the permanent collection by Eileen and Michael contemporary art since the 1960s. During the 1970s and ‘80s, the Cohen, Rosa and Carlos de la Cruz, Asher Edelman, Anne and scope of the Collection greatly expanded to include artists who Joel Ehrenkranz, Robert Gober, Mr. and Mrs. Ronald K. Greenberg, produced new dialogues with international post-war movements Zarina Hashmi, Audrey Irmas, Martin S. Kaplan and Wendy Tarlow such as Minimalism, Pop, and Arte Povera. These artists are now Kaplan, Joan and Gerald Kimmelman, Lewis and Susan Manilow, seen as representative of movements and tendencies known as Barbara and Howard Morse, Eileen Harris Norton and Peter Norton, Pattern and Decoration, Bad Painting/New Image Painting, The Carla Emil and Rich Silverstein, Toni and Martin Sosnoff, and Thea Hairy Who and Chicago Imagists, as well as early Video/New Westreich and Ethan Wagner. In 2014, the Center for Curatorial Media. These additions to the collection preceded the acquisition Studies received a major gift of nearly 200 works from Martin and of major works in the following years from artists associated with Rebecca Eisenberg. Encompassing painting, drawing, sculpture, Transavanguardia, Neo-expressionism, Post-minimalism, as well photography, installation, video and sound works, the Eisenberg as work by artists of and related to the Pictures Generation. In the gift provides a diverse group of works by almost 90 artists – many late 1980s and ‘90s the Marieluise Hessel Collection continued to of whom had not yet been represented in the permanent collection. grow rapidly, providing a fertile foundation for the major acquisition of artists who have actively worked within the discourses and histories of conceptual art – across varied media – and social and subjective positions, including the politics of identity. Over 40 percent of the artists represented in the Marieluise Hessel Collection Graduate Program are women and many of the artists – regardless of gender – have Hessel Museum been collected in depth over the duration of their careers. Library and Archives The Marieluise Hessel Collection includes works by the following art- Curriculum ists: Chantal Akerman, Janine Antoni, Georg Baselitz, Paul Chan, Faculty Larry Clark, William Copley, Moyra Davey, Eric Fischl, Andrea Fraser, Residencies Robert Gober, Felix Gonzalez-Torres, Rachel Harrison, Mona Ha- Public Programs toum, Thomas Hirschhorn, Jim Hodges, Roni Horn, Donald Judd, Curatorial Award Alumni/ae Application Requirements 6 Bard College LIBRARY AND ARCHIVES

The CCS Bard Library and Archives is one of the few academic research centers in the U.S. established and dedicated to the research and curricular needs of graduate level coursework in curatorial studies and art in contemporary culture. The CCS Bard Library and Ar- chives serve as the primary research center for students enrolled in the Master of Arts in Curatorial Studies program, while also serving as the primary fine arts library on the Bard College campus. The Library and Archives are open to the Bard community, as well as scholars and researchers from other institutions throughout the U.S. and abroad conducting original advanced research in the contemporary arts. The CCS Bard Library houses a non-circulating collection of over 30,000 volumes and is one of the foremost contemporary art research collections in the U.S. focusing on post-1960s contemporary art, curatorial practices, exhibition histories, theory, and criticism. The library’s main collection houses extensive hold- LIBRARY AND ings of international exhibition publications, artists’ monographs supporting the in-depth study of artists represented in the permanent collection, and a broad selection of current subscriptions to ARCHIVES international art journals and periodicals. The library also houses a media collection of published moving image and sound recordings by contemporary artists, and documentary productions. For more information about the holdings of the CCS Bard Library, consult the online catalog (http://library.bard.edu/) or the collections page for the CCS Bard Library & Archives website (www.bard. edu/ccs/study/library-archives/collections/). Graduate Program Through Bard College’s main Hessel Museum library, the Charles P. Ste- Library and Archives venson, Jr. Library, CCS Bard Curriculum students, faculty, and staff Faculty have access to a complete Residencies suite of subscription-based Public Programs electronic resources, as well Curatorial Award as full borrowing privileges Alumni/ae Application Requirements 7 Bard College for circulating collections in the Stevenson Library, and interlibrary loan services. Students also have access to the holdings of the Levy Economics Institute Library, and the resources maintained by the Bard College Visual Resources Center. By appointment-only, students also have access to the Bard Graduate Center Library, located on West 86th Street in New York City. The staff of the CCS Bard Library & Archives provides a series of intensive introductory research workshops for first-year CCS students, as well as in-depth and ongoing research assistance for all CCS graduate students. The introductory research workshops are intended to provide first- year students with a comprehensive overview of the formal and practical research tools and resources available at CCS Bard, as well as exploring more expansive questions about what constitutes research within a curatorial studies program. In an attempt to comprehensively document all forms of international contemporary art practice, the library seeks to collect the full publication history of select museums, galleries, and artist-centered art spaces, as well as all types of publications produced by a diverse range of international art publishers, independent and small press publishers, and artists utilizing publishing as an artistic platform. The CCS Bard Library’s Special Collections includes important holdings of historic and out-of-print artist produced periodicals, limited edition, rare, and signed exhibition catalogues and contemporary art publications, as well as an extensive collection of artist’s books. The CCS Bard Archives, comprising over 2,000 linear feet of archives and manuscripts, houses two major repositories: the institutional archives for the Center for Curatorial Stud- Graduate Program ies and the Hessel Museum Hessel Museum of Art, and the collecting Library and Archives repository of the CCS Bard Curriculum Archives. The collecting re- Faculty pository collects the archives Residencies and manuscripts of leading Public Programs contemporary art curators, Curatorial Award Alumni/ae Application Requirements 8 Bard College innovative commercial art galleries, artist-run spaces, artists’ initiatives, and the archives of contemporary artists. Published inventories and finding aids are available online at (www.bard.edu/ ccs/study/library-archives/collections/archives/). In 2016, the Center for Curatorial Studies and Hessel Museum of Art completed a major expansion of the library and the design of a new 3,600 square foot Archives, Special Collections, and Collec- tion Teaching Gallery. While the expansion of the library doubled the size of the space and added a classroom, the newly designed spaces support increased collection development activities by providing added storage areas, and more importantly, provide new teaching and viewing spaces which foster diverse forms of critical and curatorial engagement with a broad range of CCS Bard and Hessel Museum collection materials. The Collection Teaching Gallery serves as a flexible classroom and display space where the associations between works in the permanent collection can read- ily be explored in relation to archives and manuscripts, and rare books from Special Collections. Together, the CCS Bard Library and Archives support one of the world’s most forward-thinking teaching and learning environments for contemporary art research and the study of contemporary curatorial practices.

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 9 Bard College CURRI CULUM

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 10 Bard College While believing contemporary art is best grasped in counterpoint with MASTER'S DEGREE REQUIREMENTS its historical precedents and antecedents, the graduate program at CCS Bard recognizes that the field of art today is porous at its bor- Candidacy for the Master of Arts in Curatorial Studies degree requires ders with many artistic practices taking up economics, geopolitics, satisfactory completion of a total of 40 course credits, in addition philosophy, and the like as their subjects. Therefore the graduate to the execution and completion of both the written and curated program is concerned with charting the various trajectories of art’s components of the final master’s thesis project. conception, creation, distribution, circulation, mediation, and display as they have been manifested in institutional and alternative • 24 credits from 10 required courses (four seminars, four practi- settings, interrogating and theorizing the character and role of art cums, and two independent research courses) both today and in the decades ahead. • 10 credits from 5 elective courses Course offerings include seminars in art and exhibition history, theo- • 6 credits from the required professional development and mentor- ry, criticism, and curatorial practice, with intensive readings also ship placement, undertaken at the end of the first year of study covering cultural studies, post-colonialism, immaterial labor, queer • The two-part master’s degree project (written thesis and curated and feminist theory, and ideations of subjecthood, among other fo- component) cuses. In addition, classes and workshops that take up the conception and production of exhibitions and curatorial projects are led by curators, critics, archivists, librarians, and other art professionals; TWO-YEAR ACADEMIC SCHEDULE independent research courses, as well as reading and writing tuto- rials, are also integrated into the two year curriculum. Students are The typical course schedule for a student in the graduate program is required to complete a professional development and mentorship outlined below. Required seminars, proseminars, and practicums project at the end of their first year; they also develop projects and are taken in the semesters indicated. All courses typically meet for exhibitions that engage the Marieluise Hessel Collection and the two and a half hours once a week, although some will have addi- CCS Bard Library and Archives. tional discussion sessions, as well as meetings in other locations, typically in institutions or studios in New York City.

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 11 Bard College modernity, with special emphasis FIRST YEAR / SEMESTER I / FALL TERM REQUIRED on the construction of gender, Proseminar: Histories and Theories of Curating 2 CREDITS colonial networks, human envi- COURSES ronment, and media forms. In the first semester, the course focuses Seminar: Theory and Criticism in Contemporary 2 CREDITS especially on a longer histori- Art I FIRST YEAR cal timescale and wide geographic SEMESTER I / FALL TERM range, with the sense that contem- First Year Practicum I 3 CREDITS porary concerns in theory and art Proseminar: Histories and practice can only be understood Elective Course 2 CREDITS Theories of Curating (2 credits) against a broad backdrop of aes- This course surveys the history of thetic, institutional, territorial, museums, galleries, and exhibition and political contention that took spaces and explores how social and shape over many centuries. FIRST YEAR / SEMESTER II / SPRING TERM cultural conditions, institutional First Year Practicum I (3 credits) Proseminar: Studies in Contemporary 2 CREDITS requirements, and aesthetic concep- The Fall semester of First Year Art tions have shaped past and current curatorial practices. In tandem Practicum examines the working processes of curating and identifies Seminar: Theory and Criticism 2 CREDITS with this introduction to key its primary components, with an in Contemporary Art II texts, terms, and research methods for the study of modern and con- emphasis on organizing exhibitions within and around a collection. First Year Practicum II 3 CREDITS temporary exhibitions, students examine exhibitions as venues of dis- The aim is to familiarize partic- ipants with multifaceted tasks, Elective Course 2 CREDITS play, sites of artistic production, and spaces of aesthetic experience. ranging from conceptual develop- Professional Development and 6 CREDITS Students develop research skills ment to the installation, inter- Mentorship Placement to assess the discursive functions pretation, and documentation of of exhibitions—as well as their an exhibition while engaging with expanded manifestations—and vari- the Marieluise Hessel Collection, ous legacies of curatorial prac- CCS Bard Library, Archives, and SECOND YEAR / SEMESTER III / FALL TERM tice. The course considers how the Special Collections. The course genres and forms of exhibition and features a range of individual and Independent Research: MA Project 2 CREDITS curating have evolved; how exhibi- collaborative curatorial and re- Research tions engender forms of spectator- search exercises, writing clinics, ship, reception, and transmission; student-led seminars, site visits, Second Year Practicum I 3 CREDITS and how exhibitions and curators and workshops with faculty and participate in the development of staff, as well as visiting curators Elective Course 2 CREDITS various theoretical art-historical and artists. Projects utilizing Elective course [Second elective 2 CREDITS and sociopolitical contexts. may be taken in either the Fall or Spring term of the second year] Seminar: Theory and Criticism in Contemporary Art I (2 credits) This year long course presents a Graduate Program detailed overview of concepts and SECOND YEAR / SEMESTER IV / SPRING TERM theories important to contemporary Hessel Museum art and art criticism. The course Library and Archives Independent Research: MA Project 2 CREDITS as a whole seeks both to estab- Curriculum Research lish a rigorous understanding of those key debates, tendencies, and Faculty Second Year Practicum II 3 CREDITS challenges within critical theory Residencies and to situate them in relation Public Programs Elective Course 2 CREDITS to the broader social, economic, and technical transformations of Curatorial Award Alumni/ae Application Requirements 12 Bard College artworks from the Hessel Collection practice today. opment in order to broaden their cally develop their curatorial may take the form of exhibitions, knowledge of the art industry, practice, we also hope to encourage screenings, discursive events, First Year Practicum II (3 credits) and support their acquisition of existing practices of collegiality online projects, and are combined The second semester of Practicum fundamental skills relevant to the within the curatorial field, by way with sessions devoted to practical continues to examine the practical, curating of contemporary art. This of interpersonal, cross-cultural, and technical concerns discursive, and social processes of unit is structured to enhance each and intergenerational exchange. curating with an emphasis on modes student’s individual interests and of writing and research within cu- broaden their base of practical M.F.A. Thesis Exhibition FIRST YEAR ratorial practice. It is comprised and professional competencies, Each year, a CCS Bard student is SEMESTER II / SPRING TERM of intensive workshops in critical with the guidance of an interna- selected to coordinate the Bard and interpretive writing, taught tional array of practitioners, CCS M.F.A thesis show in late July. Proseminar: Studies in each year by practicing curators Bard faculty, and members of the In preparation, the coordinator Contemporary Art (2 credits) and critics. Through writing clin- Graduate Committee. conducts studio visits with the This course introduces key con- ics, student-led seminars, site artists and participates in the cepts, terms, and methodologies visits, group discussions, writing Through structured participation crits, discussions, and activities in modern and contemporary art his- assignments, and introduction of in organized workshops, students of the M.F.A. Working in collabora- tory, analyzing discursive and cul- the annotated bibliography, the will gain clearer understanding of tion with the graduating artists, tural shifts while focusing on art- practicum develops students’ abili- the issues, methods, and outcomes the coordinator helps curate the works, written texts, exhibitions, ties to write critically about of working with artists. They will thesis show, as well as produce and presentational models. Through artworks and their various histori- also gain a current overview of the related publications, programming, case studies and close reading, cal, social, cultural, and theoret- art market and strengthen their and mediation events. students consider the ways in which ical contexts. skills in securing loans or financ- the very terms and conditions of ing projects for the successful art history, particularly in our realization of artworks, exhibi- SECOND YEAR contemporary context, are contin- STUDENT RESEARCH TRIP tions, and projects in the field. SEMESTER III / FALL TERM ually renegotiated. Of special AND MENTORSHIP PLACEMENT Students will also work closely significance are an exploration of with an individual practitioner on Independent Research: artworks, texts, and exhibitions Student Research Trip a curatorial or publishing project, M.A. Project Research (2 credits) that take up (or resist) tenets of During the first year of study, CCS to deepen their understanding of This course is designed to help theoretical discourse, making them Bard students and faculty travel to existing practices through direct students prepare for, research, a part of the work itself rather an international art event or artis- hands-on engagement, in addition and write a draft of the written than an external mediation upon it. tic center and meet with a variety to receiving personal mentoring component of the master’s degree of curators, artists, and other through this process. thesis project. The course consists Seminar: Theory and Criticism cultural producers. Students have of individual meetings with core in Contemporary Art II (2 credits) previously visited documenta XIV During the Summer between their faculty and writing tutors, meet- The Spring semester continues the in Athens and Kassel (2017); Lima first and second years, each stu- ings of small peer-writing groups, arc established in the Fall se- (2016); the Venice Biennial, Lju- dent conducts direct, project-based and larger discussions that explore mester, moving through the second bljana, and Zagreb (2015); Amster- work and receives personal men- forms of academic and curatorial half of the 20th century in order dam, Eindhoven, and Brussels (2014); toring from a curator, scholar, to critically consider a range of documenta XIII in Kassel (2012); critic, or other arts profession- concepts and categories that have Mexico City (2012); the Taipei and al. This unit is structured to become especially important in con- Gwangju biennials (2010); the Istan- expand the individual student’s temporary art production and dis- bul Biennial (2009); the São Paulo existing base of curatorial re- course during the past two decades, Biennial (2008); and Berlin (2007). search, collegial relationships, Graduate Program such as histories of racism, digi- The research expedition is made and professional skills. Through Hessel Museum tal media, queer theory, cultural possible with support from Lori and a concentrated period of practi- Library and Archives appropriation, and new ecologies. Alexandre Chemla. cal, hands-on work, students are Throughout the semester, students introduced to projects and insti- Curriculum attend to both the historical back- Professional Development tutional contexts that they have Faculty drop and the recent transformations & Mentorship Placement personally indicated an interest Residencies of these ideas, in order to reflect Throughout their first and second in working on/within. In addition on their relevance for thinking years of study, each student re- to broadening students’ existing Public Programs about artistic and curatorial ceives forms of professional devel- frames of knowledge to holisti- Curatorial Award Alumni/ae Application Requirements 13 Bard College writing. In addition, students are • Collectivity, Difference paired with outside readers—experts ELECTIVES and Politics in their field—with whom students • Curating and the Sonic Turn consult during the writing of • Contemporary Art & Financial the thesis. Particular attention is given in Neo-Liberalism elective courses to developing in- • Curating Cinema Second Year Practicum I (3 credits) terdisciplinary perspectives on the • Aesthetics of the Commons The Second Year Practicum offers contemporary arts and their presen- • Hannah Arendt Center Seminar hands-on curatorial and writing tation. Specialized courses taught • Between Law and Power experience both at CCS Bard and by core faculty, as well as visit- • Alternative to What? Alternative partner institutions. Students ing curators and scholars, offer Culture, practice, and elect to participate in several studies of the contemporary arts, curatorial approach collaborative projects. In 2017, their expanded contexts, and the • Contemporary Artists’ the three projects included, 1) discourses upon which they bear. Publishing: Strategies researching, commissioning, and Courses include seminars focusing and Forms presenting a performance at The on contemporary art history and • The Projective Artwork in the Kitchen in New York; 2) proposing, aesthetic theory. Others explore Age of Digital Reproduction organizing, installing, and opening specialized studies of the history • Reconsidering Institutional an exhibition at ISCP in New York; of exhibition, museum and curato- Critique and 3) participating in the stu- rial practice, the sociology of mu- dent-led journal aCCeSsions, which seums and their audiences, the eco- involves determining a theme for nomics of arts institutions and the the annual publication, and commis- art market, the architecture of mu- sioning, seums, the interplay between liter- editing and releasing essays by ature and art, and the preservation writers, artists, and curators. of ephemeral forms like performance and media. Additional elective offerings address the field of cul- SECOND YEAR tural production outside the domain SEMESTER IV / SPRING TERM of contemporary art, examining such subjects as political philosophy Independent Research: and media studies. Students must M.A. Project Research (2 credits) complete a total of five elective Like the third-semester course, courses, each carrying 2 credits. the Spring semester of Independent Research: M.A. Project Research in- The following are a selection of volves periodic consultations with electives offered over the past several faculty members regarding five years: both the physical manifestation of the curated project and written • Curating the Moving Image: M.A. Thesis. Written components of Institutional Legacies the student-curated exhibitions • I, Etcetera are also workshopped, to include • Archiving the Gesture questions of exhibition design, • The Art of the Pat Hearn Gal- Graduate Program preparation, and installation. lery Hessel Museum • Potentiality and Contingency: Library and Archives Second Year Practicum II Unrealized Biennale Proposals (3 credits) • Big Data, Small Subjectives Curriculum The Spring semester of Second Year • Exhibition/Models: Faculty Practicum continues the work start- Intersections of Curating and Residencies ed on the collaborative projects in Exhibition Design the Fall semester. • Curating Performance Public Programs Curatorial Award Alumni/ae Application Requirements 14 Bard College a second faculty member or member MASTER’S of the Graduate Committee, and a scholar, critic, or other art pro- DEGREE fessional who is not on CCS Bard’s PROJECT faculty.

At the culmination of the program’s study and training, each student prepares a final master’s degree project. The project comprises two elements: a curated component and a written thesis.

The curated component consists first of a proposal submitted to the Graduate Committee in the third semester of study, describing the project’s subject, formal parameters, budget, and installation plan. Given the program’s understanding that contemporary curatorial practice often engages with unconventional formats, this proposal may put forward an exhibition, book, symposium, online platform, or other project for consideration. This endeavor will be executed with the input and approval of both the Graduate Committee and CCS Bard faculty and museum staff.

The written thesis consists of a theoretical and research-based engagement with art historical or contemporary subjects and issues, and is an extension or elaboration of aspects of the curated component of the master’s degree project. Such an engagement is intended to provide students with the oppor- Graduate Program tunity to develop an ambitious, Hessel Museum scholarly investigation of topics of importance to past and present Library and Archives art, and to contextualize various Curriculum aspects of the curated projects in Faculty art historical, theoretical, and societal terms. This written compo- Residencies nent is prepared under the supervi- Public Programs sion of a thesis committee made up Curatorial Award of the student’s faculty advisor, Alumni/ae Application Requirements 15 Bard College CORE FACULTY AND

SELECTED RECENT S VISITING INSTRUCTORS

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 16 Bard College LAUREN CORNELL TOM ECCLES project with Tony Oursler in 2010. Hessel Museum of Art, where she Director of The Graduate Executive Director / He curated the sculpture park for manages the fine art collection and Program / Chief Curator / Graduate Committee Member the New York Frieze Art Fair in has organized the production of Graduate Committee Member Tom Eccles is Executive Director of 2012 and 2013 and was consulting over four-hundred exhibitions and Lauren Cornell is the Director of the Center for Curatorial Studies, curator for Governors Island in projects in her thirty-year tenure the Graduate Program and Chief Cu- Bard College. Since joining CCS New York. at Bard College. rator at CCS Bard. Formerly she was Bard in 2005, he has overseen the the Curator and Associate Director construction of the Hessel Museum Eccles was Director of the Pub- Working with students, staff, of Technology Initiatives at the of Art which opened in November lic Art Fund in New York City from visiting curators, and artists in New Museum. She curated the 2015 New 2006, co-curated the inaugural 1996-2005 where he curated more the creation of exhibitions, art- Museum Triennial, Surround Audi- exhibition of the Marieluise Hes- than 100 exhibitions and projects ists’ projects, and site-specific ence, with artist Ryan Trecartin, sel Collection, Wrestle, and has with artists including Louise Bour- installations she has collaborated as well as Beatriz Santiago Munoz: organized exhibitions with artists geois, Janet Cardiff, Mark Dion, with artists such as Sven Augusti- Song, Strategy, Sign, with Johan- Martin Creed (2007), Keith Edmier Dan Graham, Barbara Kruger, Pierre jnen, Bik van der Pol, Gerard na Burton and Sara O’Keeffe (2016); (2008), Rachel Harrison (2009), Jo- Huyghe, Ilya Kabakov, Jeff Koons, Byrne, Keith Edmier, Liam Gillick, Walking, Drifting, Dragging (2013); siah McElheny (2011), Liam Gillick Takashi Murakami, Nam June Paik, Rachel Harrison, Josiah McElheny, Free (2010); and Younger than Jesus, (2012), and Haim Steinbach (2013). Pipilotti Rist, Lawrence Weiner, Philippe Parreno, Pedro & Juana, with Massimiliano Gioni and Laura In 2005, he organized the U.S. ver- Rachel Whiteread and Andrea Zittel. Sarah Pierce, Antonis Pittas, Amy Hoptman (2009); among other exhi- sion of Uncertain States of America He organized a number of outdoor Sillman, Haim Steinbach, Lawrence bitions. At the New Museum, Cornell at CCS Bard. He also commissioned projects in collaboration with New Weiner, Jordan Wolfson, Andrea organized over fifty performances, the permanent installation of Ola- York City institutions including Zittel, and many others. screenings, and conversations and fur Eliasson’s Parliament of Reali- the Museum of Modern Art (Tony commissioned over one hundred works ty (2009) on the grounds of Bard Smith, Francis Alys), the Whit- Acita lectures and conducts work- in a variety of mediums, including College. ney Museum (Biennials 2000, 2002, shops on the practical aspects sculpture, painting, photography, 2004, 2006), and the New Museum of exhibition making, exhibition installation, and video, as well as From 2006-2010, he was the cura- (Paul McCarthy). During his tenure design, and programming logistics. browser-based work and virtual real- torial adviser to the Park Avenue at the Public Art Fund, he also She curated Alighiero e Boetti ity. In 2010, she founded the annual Armory and curated Ernesto Neto’s initiated the Tuesday Night Talks (1998); Gabriel Orozco: Selec- conference Seven on Seven, and in anthro-podino in 2009, Christian series (Cooper Union 1995-2000 and tions from the Marieluise Hessel 2016 she co-founded Open Score, an Boltanski’s No Man’s Land in 2010, the New School for Social Research Collection (2000), Works through annual forum exploring issues in and was consulting curator for Paul 2001-2005) and the In the Public the Windows (2004), White for CCS, art and technology. From 2005-2012, McCarthy’s WS (2013). At Marian Realm program for emerging artists co-organized with Montserrat Albor- she served as Executive Director Goodman Gallery in 2009, he curat- including projects by Alexander res Gleason (2014) and numerous of Rhizome, an organization that ed a group exhibition, As Long As Brodsky, Christine Hill, and Paul artists’ book exhibitions and commissions, exhibits, and preserves It Lasts, including artists Pawel Pfeiffer (1995-2005). presentations of works from the art engaged with technology. From Althamer, Johanna Billing, Tacita Marieluise Hessel Collection 2002-2004, she served as Executive Dean, William Kentridge, Gerhard Eccles graduated from the Univer- (1995-2014). Director of Ocularis, a former cine- Richter, and Artur Zmijewski among sity of Glasgow in 1989 with an ma in Brooklyn. She is a co-editor, others. Eccles was a “correspon- M.A. in Philosophy and Italian. with Ed Halter, of Mass Effect: Art dent” for the 2009 Venice Bien- He studied philosophy, aesthetics and the Internet in the Twenty-First nale (curated by Daniel Birnbaum). and semiotics at the University Century (New Museum and MIT Press, Eccles also works with the LUMA of Bologna from 1985-87. He is a 2015), and has contributed to many Foundation as a member of the “Core faculty and graduate committee publications including, ArtReview, Group” of advisers for the develop- member at the Center for Curatori- Graduate Program Aperture, Frieze, Mousse, North ment of a major cultural center in al Studies, Bard College. Hessel Museum Drive Press, and the Paris Review. Arles, France (with Liam Gillick, Library and Archives Since 2013, she has been a faculty Hans Ulrich Obrist, Philippe Parre- member at the CCS Bard. She co-or- no, and Beatrix Ruf). He is a board MARCIA ACITA Curriculum ganized the Hessel Museum’s tenth member of the Keith Haring Founda- Director of Exhibitions Faculty anniversary exhibition, Invisible tion. Until 2011, he was an adviser and Operations Residencies Adversaries (2016) with Tom Eccles. to the software developer, Adobe, Marcia Acita is the Director of Cornell is the recipient of ArtTa- for the Adobe Museum of Digital Exhibitions and Operations at the Public Programs ble’s 2017 New Leadership Award. Media and curated the first online Center for Curatorial Studies and Curatorial Award Alumni/ae Application Requirements 17 Bard College Acita graduated from the University research initiatives that contextu- tival, mumok, the Festival du Nou- Hayes, Martin Beck, among others. of Colorado, Boulder in 1981 where alize the fine art collections at veau Cinéma, Portikus, the Whitney She is co-organizing an exhibition she studied art and art history CCS and facilitates access to them. Museum, Tramway, Swiss Institute, on the histories and activities and received an M.F.A. from the Artists Space, and the Ljubljana of Pat Hearn Gallery and American University of North Carolina, Chap- Prior to CCS Bard, Blackley worked Biennial of Graphic Arts. He re- Fine Arts, Co. (Hessel Museum of el Hill in 1983. She has served as with the Felix Gonzalez-Torres ceived a Ph.D. in Literature from Art, 2018); and writing a book on the Registrar, Acting Director, and Foundation as the Associate Direc- the University of California Santa contemporary art and information Assistant Director of the Hessel tor of Research and Archives. As Cruz and was a Fulbright Fellow in profiling. She has been a core fac- Museum at CCS Bard as well as the a curator, he organized multiple Italy for his doctoral research. ulty member at CCS Bard since 2010 Registrar at the Edith C. Blum exhibitions at the Fales Library and a Graduate Committee member Art Institute, prior to her and Special Collections at New York since 2011. current role. University (including Keith Haring: DR. JEANNINE TANG Languages, in conjunction with the Faculty / Luma Foundation Fellow / Keith Haring Foundation) along- Graduate Committee Member AMY ZION ANN BUTLER side working in various capacities Jeannine Tang is an art historian Visiting Faculty Director of The Library in the studios of artists Kelley and critic who received her M.A. Amy Zion is a curator and writer and Archives / Graduate Walker, Lutz Bacher, Anne Collier, and Ph.D. from the Courtauld Insti- in New York City. Since Fall 2016, Committee Member and Danh Vo (the last-mentioned tute of Art, and holds a B.A. from she has been part-time faculty at Ann Butler is the Director of the in advance of the 2015 exhibition the National University of Singa- CCS Bard, and co-editor with Roxana Library and Archives at the Center Slip of the Tongue, Punta della Do- pore. Previously a Terra Foundation Fabius of the Center's online, stu- for Curatorial Studies at Bard Col- gana, Fondation François Pinault, Fellow at the Smithsonian American dent-lead journal, aCceSSions. In lege. For the past twenty years she Venice). He has published texts Art Museum, she was also a Critical 2018, she will be the guest curator has held positions within academ- and interviews with Afterall, The Studies participant at the Whitney of the 3rd People's Biennial along ic research libraries, archives, Studio Museum in Harlem, Heidel- Museum Independent Study Program. with Jens Hoffmann and Harrell and contemporary art museums, and berger Kunstverein/Bom Dia Books, Her writing has appeared in venues Fletcher at the Indianapolis Mu- has been instrumental in build- 3am, and BOMB. such as Artforum, Art Journal, The- seum of Contemporary Art. Zion is ing several archival programs and ory, Culture & Society, Afterimage, co-editor, with New Museum cura- research collections including the Journal of Visual Culture, Art In- tor Helga Just Christoffersen, of Library & Archives at CCS Bard, the DR. EVAN CALDER WILLIAMS dia, and Broadsheet, among others. a compendium of emerging artistic Fales Library & Special Collections Faculty Recent and forthcoming essays in practices in the Nordic countries at NYU, and the Guggenheim Museum Evan Calder Williams is the author books have focused on institutional as part of CHART Emerging, Copen- Library and Archives. She holds an of Combined and Uneven Apocalypse critique and the circulation of art hagen. At the 56th Venice Biennale M.L.S from Rutgers University, an (2011); Roman Letters (2011); Shard (Provenance: An Alternate History she was Assistant Curator of the M.A. in Media Studies from the New Cinema (2017), and forthcoming in of Art, Getty Research Institute, Danish Pavilion, and has worked on School for Social Research, and a 2018, The Grid Aflame. He is the 2012); feminism and international numerous exhibitions internation- B.F.A from the School of the Art translator, with David Fernbach, survey exhibitions (Politics in a ally including the Italian Pavil- Institute of Chicago. She serves of Mario Mieli's Towards a Gay Com- Glass Case: Feminism, Exhibition ion at the 57th Venice Biennale; as faculty at CCS Bard and lec- munism. His writing has appeared Cultures and Curatorial Trans- A.U.T.O.E.N.U.C.L.E.A.T.I.O.N. tures widely on subjects including, in Film Quarterly, WdW Review, The gression, Liverpool University artists and contemporary publish- Italianist, La Furia Umana, World Press, 2013); spectatorship and ing, contemporary art archives, and Picture, The Journal of American land rights (Critical Landscapes, documentation practices for perfor- Studies, Mute, Estetica, and The University of California Press, mance, technology, and installa- New Inquiry, amongst other publi- 2014); temporalities after post- tion-based works. cations. He is part of the ed- modernism (Time/Image, 2014-2015); Graduate Program itorial collective of Viewpoint curatorial history and pedagogy Hessel Museum Magazine and is a founding member (The Curatorial Conundrum, MIT Library and Archives ANDREW BLACKLEY of the film and research collective Press, 2016); and, gender and Director of Collections Research Thirteen Black Cats. He was an art- infrastructure in contemporary art Curriculum Andrew Blackley is the Director ist-in-residence at ISSUE Project (Trap Door, New Museum/MIT Press, Faculty of Collections Research and is a Room and has presented collabora- 2017). She has published on the Residencies faculty member at the Center for tive films, performance, and audio art of Cheo Chai-Hiang, Ho Tzu Curatorial Studies, Bard College. works at La Biennale de Montreal, Nyen, Maria Eichhorn, Simryn Gill, Public Programs At CCS Bard, Blackley develops the Serpentine Gallery, Images Fes- Andrea Geyer, Hans Haacke, Sharon Curatorial Award Alumni/ae Application Requirements 18 Bard College Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 19 Bard College (2015) at Sismógrafo, Porto; Slip ing drawing practices in relation sometimes take the form of lec- rum, Cura. Magazine, Kaleidoscope, of the Tongue (2015) at the Pinault to film, architecture, sculpture, tures about the artist Hannah Höch. Parkett, and Mousse. She frequently Foundation, Venice; and Tell It music, and other fields. Katsof was curator-in-residence at presents lectures and participates To My Heart–Collected by Julie Denniston Hill in Glen Wild (2015) in panel discussions in universi- Ault (2013-14) at the Museum für and Artport in Tel Aviv (2014), ties and other institutions. gegenwartskunst, Basel (which trav- ALHENA KATSOF as well as artist-in-residence at elled to the Lisbon Culturgest and Visiting Faculty IASPIS in Stockholm, with Public Artists Space, New York). Alhena Katsof works within artistic Movement (2012). Additionally, she DR. ALEX KITNICK and curatorial practice, frequently served as Volkswagen Fellow at MoMA Faculty From 2007-15, Zion was Associ- through forms of writing. In her PS1 (2012-2013) and Museum as Hub Alex Kitnick, The Brant Foundation ate Editor at Fillip, a Vancouver role with the performative Fellow at the New Museum (2011). Fellow in Contemporary Arts, is an based publishing organization. Zion research group Public Movement, Katsof was a participant of the Cu- art historian and critic based in contributes writing and criticism she co-authored the book Solution ratorial Program at De Appel, and New York. He received his Ph.D. regularly to magazines including 263: Double Agent, as part of the graduated with an M.F.A from the from the Department of Art & Ar- Frieze, Flash Art, and Art Journal. Solution Series edited by Ingo Glasgow School of Art. chaeology at Princeton University She has edited monographs for art- Neirmann (Sternberg Press, 2015). in 2010 and was a postdoctoral fel- ists Danh Vo (Musée d'art moderne Katsof creates performances with low at the Getty Research Institute de la ville de Paris, 2014) and Public Movement, which have been RUBA KATRIB in Los Angeles from 2011-2012. An Abbas Akhavan (forthcoming Skira, presented at the Solomon R. Guggen- Graduate Committee Member editor of numerous volumes, includ- 2017) and was co-editor of Tell it heim Museum (2016) and Tel Aviv Mu- Ruba Katrib is Curator at MoMA PS1 ing a collection of John McHale’s to My Heart--Collected by Julie seum of Art (2015), as well as part in New York City. From 2012 she was writings, The Expendable Reader: Ault Vol. 1 (Haatje Cantz, 2013). of the Göteborg International Bien- Curator at SculptureCenter, where Articles on Art, Architecture, She has contributed catalogue nial for Contemporary Art (2017), she will serve as Adjunct Cura- Design, and Media, 1951–1979, and essays for exhibitions at Villa New Museum Triennial (2012), and tor until spring 2018. At Sculp- October 136 on New Brutalism, he is Stuck, Munich; Heidelberger Kunstv- Steirischer Herbst Festival (2012). tureCenter she has produced the also a frequent contributor to pub- erein; and the Nouveau musée natio- Katsof’s essay about the legend- group shows The Eccentrics (2015), lications including Artforum, May, nale de Monaco. Zion is co-author ary exhibition Times Square Show, Puddle, Pothole, Portal (2014) October, and Texte zur Kunst. of Hannah Arendt's Library (2014), which was organized by the New York (co-curated with artist Camille an artist book which came out of artist group Collaborative Projects Henrot), Better Homes (2013), and a collaborative engagement with Inc., is published in The Artist A Disagreeable Object (2012). Re- ROXANA FABIUS ROZENBAUM material in the Library Archives As Curator: An Anthology, edited cent solo shows organized include Visiting Faculty and Special Collections at Bard by Elena Filipovic (Mousse exhibitions with Nicola L., Kelly Roxana Fabius Rozenbaum is a cura- College. Zion is an alumnae of the Publishing, 2017). Akashi, Sam Anderson, Teresa Burga, tor and art historian. She current- Center for Curatorial Studies, Bard Charlotte Prodger, Cercle d'Art ly lives and works in New York City College (M.A., 2012) and received a Katsof has worked with artists des Travailleurs de Plantation while serving as Executive Director B.F.A from Emily Carr University of including Laura Aldridge, Pauline Congolaise (CATPC) (all 2017), at A.I.R. Gallery and as part-time Art and Design, Vancouver. Boudry / Renate Lorenz, Metahav- Cosima von Bonin, Aki Sasamoto, Ro- faculty at the Center for Curato- en, MPA, and Adrián Villar Rojas. chelle Goldberg (all 2016), Anthea rial Studies, Bard College. Her From 2006-2009 she curated an Hamilton, Gabriel Sierra, Maga- NOVA BENWAY exhibition platform in her Glasgow li Reus, Michael E. Smith, Erika Visitng Faculty apartment under the name A.Ver- Verzutti, Araya Rasdjarmrearnsook Nova Benway is Executive Director min. As an independent curator, (all 2015), Jumana Manna, and of Triangle Arts Association, an Katsof has organized exhibitions David Douard (both 2014). In 2010, artist residency founded in New with venues including, Contempo- Katrib was awarded a curatorial Graduate Program York in 1982 which has expanded to rary Arts Museum Houston, PARTIC- Fellowship from the Andy Warhol Hessel Museum a worldwide network of more than IPANT INC., Regina Rex, and White Foundation in 2010 to support Library and Archives forty members. She was previously Columns. In 2014, she curated the research on artist-run education- a curator at The Drawing Center in first multi-venue exhibition of al platforms throughout Latin Curriculum New York City, where she co-di- drawings and graphic notations by America that included a symposium Faculty rected Open Sessions, a two-year the master musician Yusef Lateef. and publication. Katrib regularly Residencies residency/exhibition hybrid program An exploration of process-based contributes texts for a number of organized with local, national, and gestures in contemporary art has museum catalogues and periodicals Public Programs international artists, support- shaped Katsof’s endeavors, which including Art in America, Artfo- Curatorial Award Alumni/ae Application Requirements 20 Bard College research is focused on the inter- Festival 2011, Sanguenay, Quebec. cently, Tan has worked with Meriem tar International Video Art Festi- section between aesthetics, art, LIA GANGITANO Bennani, Half Straddle, Sara Magen- val, and elsewhere. He has written design, technology, rationalism, Visiting Faculty / heimer, and Sondra Perry. Previous- catalog essays for exhibitions at and feminist theory. She holds an Graduate Committee Member ly she co-curated From Minimalism the Whitney Museum of American Art, M.A. from the Center for Curatorial In 2001, Lia Gangitano founded into Algorithm (2016), a year-long MoMA, Mass MoCA, Berlin’s Akademie Studies, Bard College and an M.A. PARTICIPANT INC, a not-for-profit performance and exhibition series, der Künste, the Museum of Contempo- from the Multidisciplinary Program art space, presenting exhibitions as well as projects with artists rary Photography, and other venues. in the Arts from Tel Aviv Universi- by Virgil Marti, Charles Atlas, including Ed Atkins, Gretchen Bend- ty (Cum Laude). She has organized Kathe Burkhart, Michel Auder, er, Glasser, George Lewis, Anicka programs and exhibitions in venues Renée Green, and Greer Lankton, Yi, and Danh Vo and Xiu Xiu. Prior LIAM GILLICK around the world among them Zona among others. As curator of Thread to The Kitchen, Tan was Guest Cura- Graduate Committee Member Maco, Mexico; Park Avenue Armory, Waxing Space, NY, her exhibitions, tor at the Fonds Régional d’Art Liam Gillick deploys multiple forms New York; Caixa Forum, Barcelona; screenings, and performances in- Contemporain Nord Pas-de-Calais in to expose the new ideological con- Artport, Tel Aviv; Centro Cultur- cluded Spectacular Optical (1998); France, director at Zach Feuer Gal- trol systems that emerged at the al de España, Montevideo; and Judd Luther Price: Imitation of Life lery, and curatorial assistant at beginning of the 1990s. Examining Foundation, New York. (1999); Børre Sæthre: Module for MoMA PS1 Contemporary Art Center. the aesthetics of the constructed Mood (2000); and Sigalit Lan- Her writing has appeared in The New world, Gillick’s work exposes the dau (2001). She is editor of Dead York Times, Artforum, Frieze, The dysfunctional aspects of a modern- THOMAS KEENAN Flowers (2010), and the forthcom- Exhibitionist, and numerous exhibi- ist legacy in terms of abstrac- Visiting Faculty ing anthology, The Alternative to tion catalogues. tion and architecture when framed Thomas Keenan is the Director of What? Thread Waxing Space and the within a globalized, neo-liberal the Human Rights Project and As- '90s. As associate curator, she consensus. Gillick’s work ranges sociate Professor of Comparative co-curated Dress Codes (1993), and DR. CHRISTOPH COX from small books to large-scale Literature, at Bard College. He Boston School (1995) for the ICA Graduate Committee Member architectural collaborations. His holds a B.A. from Amherst College, Boston, and edited New Histories Christoph Cox is a philosopher, practice exists in a constant ten- and an M.A. and Ph.D. in Philoso- (with Steven Nelson, 1997), and critic, and curator of visual and sion between his formally minimal- phy from Yale University. He is the Boston School (1995). She has con- sonic art. He is Professor of Phi- istic works that reflect upon the recipient of the following awards: tributed to publications including losophy at Hampshire College, where language of renovated space and his Fellowship, Center for the Critical Renée Green, Endless Dreams and he teaches contemporary European critical approach through writ- Analysis of Contemporary Culture, Time-based Streams, Lovett/Codag- philosophy and art theory. Cox is ing and the use of text. His work Rutgers (1991–92); Shorenstein Fel- none, Whitney Biennial 2006-Day for the author of Sonic Flux: Sound, extends into structural rethinking low, Joan Shorenstein Center for Night, and 2012 Whitney Biennial Art, and Metaphysics (Universi- of the exhibition as a form. In ad- Press and Politics, John F. Kennedy on Charles Atlas. As curatorial ty of Chicago Press, 2018); and dition he has produced a number of School of Government, Harvard Uni- advisor, her exhibitions at MoMA Nietzsche: Naturalism and Inter- short films since the late 2000s, versity (1998). He is the author of PS1 included Lutz Bacher, My Secret pretation (University of Califor- which address the construction of Fables of Responsibility: Aberra- Life (2009). She is a Board Member nia Press, 1999); and co-editor the creative persona in light of tions and Predicaments in Ethics of Primary Information and Dirty of Realism Materialism Art (CCS the enduring mutability of the and Politics (1997); articles in Looks; Advisory Board Member of the Bard/Sternberg, 2015); and Audio contemporary artist as a cultural PMLA, New York Times, Wired, Johns Outpost Cuts and Burns Residency Culture: Readings in Modern Music Hopkins Guide to Literary Theory Program and John Kelly Performance; (Bloomsbury, 2017). The recipient and Criticism, among others. and recipient of a Skowhegan Gover- of an Arts Writers Grant from Cre- nors’ Award for Outstanding Service ative Capital/Warhol Foundation, He was editor of The End(s) of the to Artists and the inaugural White Cox is editor-at-large at Cabinet Museum (1996), and co-editor of New Columns/Shoot the Lobster Award. magazine. His writing has appeared Graduate Program Media, Old Media (2005). He is an in October, Artforum, Journal of Hessel Museum editorial and advisory board member the History of Philosophy, The Library and Archives of Journal of Human Rights, Grey LUMI TAN Wire, Journal of Visual Culture, Room, WITNESS, and Scholars at Risk Visiting Faculty Organised Sound, The Review of Curriculum Network. Recent curatorial projects Lumi Tan is Curator at The Kitchen Metaphysics, and elsewhere. Cox Faculty include Antiphotojournalism, with in New York, where she organizes has curated exhibitions at the Residencies Carles Guerra at La Virreina Centre exhibitions and produces perfor- Contemporary Arts Museum Houston, de l’Image, Barcelona; and Aid and mances with artists across disci- The Kitchen, New Langton Arts, G Public Programs Abet: Working with NGOs, Zoom Photo plines and generations. Most re- Fine Art Gallery, the Brick & Mor- Curatorial Award Alumni/ae Application Requirements 21 Bard College figure – Margin Time (2012), The the International Association of Heavenly Lagoon (2013), and Hamil- Art Critics); and, most recently, ton: A Film by Liam Gillick (2014). Dreamlands: Immersive Cinema and His book Industry and Intelligence: Art 1905-2016. She lectures and Contemporary Art Since 1820 was publishes widely, teaches in the published by Columbia University art department at Columbia Univer- Press in March 2016. sity, New York, and was recently awarded an honorary doctorate from Gillick’s work has been included the History of Art Department at in numerous exhibitions including Bristol University, England. documenta and the Venice, Berlin and Istanbul Biennales – repre- senting Germany in 2009 in Ven- CCS BARD’S GRADUATE COMMITTEE ice. Gillick’s work is held in The Center’s Graduate Committee of many important public collections core faculty and key figures in the including the Centre Pompidou in field comes together as a group to Paris, the Guggenheim Museum in New critique and approve students’ mas- York and Bilbao, and the Museum of ter’s projects, as well as inter- Modern Art in New York. Over the view potential candidates for ad- last twenty-five years Gillick has mission to the program. The current also been a prolific writer and Graduate Committee is comprised of: critic of contemporary art – con- tributing to Artforum, October, Ann Butler Frieze, and e-flux Journal. He is Lauren Cornell the author of a number of books Christoph Cox including a volume of his selected Tom Eccles critical writing. Throughout his Lia Gangitano career, Gillick has extended his Liam Gillick practice into experimental venues Chrissie Iles and collaborative projects with Jeannine Tang artists including Philippe Parreno, Ruba Katrib Lawrence Weiner, and Louise Lawler.

CHRISSIE ILES Graduate Committee Member Chrissie Iles is the Anne and Joel Ehrenkranz curator at the Whitney Museum of American Art, New York. Her exhibitions include co-curating the 2004 and 2006 Whitney Bien- nials, and curating major survey exhibitions of Marina Abramov- ic, Dan Graham, Louise Bourgeois, Graduate Program Sol LeWitt, and several thematic Hessel Museum exhibitions of the moving image, Library and Archives including Signs of the Times: Film, Video and Slide Installation and Curriculum Britain in the 1980s; Scream and Faculty Scream Again: Film in Art; Into Residencies the Light: The Projected Image in American Art 1964-1977 (voted best Public Programs group show in New York in 2001 by Curatorial Award Alumni/ae Application Requirements 22 Bard College In order to make the production of art and curatorial projects a more palpable part of the graduate program, CCS Bard initiated artist-in-residence and curator-in-residence programs, which allow for one or more practitioners to spend a semester to a year at the Center making new work, while teaching and engaging with the program in other ways. Current and past fellows include: Yael Bar- tana, Bik Van Der Pol, Ana Paula Cohen, Luke Fowler, Hans Eisler Nail Salon (H.E.N.S.), Sofia Hernández Chong Cuy, Josiah McElheny, Marysia Lewandowska, Sarah Pierce, Lisi Raskin, Trevor Smith, and, Marion von Osten. Each year, The Mondriaan Fund generously supports residencies for Dutch artists and curators who are interested in coming to CCS Bard to continue working on their own projects and research, while being involved in the Center’s curriculum and being available as a resource for students in the Masters program. Current and past fellows include: Anke Bangma, Laurie Cluitmans, Marjolijn Dijkman, Annet Dekker, Bernd Krauss, Antonis Pittas, Rebecca Stephany, Bik Van der Pol, Christel Vesters, and, Arnisa Zeqo. RESI In 2014, CCS Bard and the Human Rights Project at Bard College established the Keith Haring Fellowship in Art and Activism. Enabled by a five-year grant from the Keith Haring Foundation, the annual Fellowship brings a distinguished scholar, activist or artist to Bard DENCIES to investigate the role of art as a catalyst for social change. Fellows teach and conduct research at both CCS Bard and the Human Rights Project at Bard College. Current and past Keith Haring Fel- lows include: Galit Eilat (2017-18), Sandi Hilal and Alessandro Petti (2016-17), Shuddhabrata Sen- gupta (2015-16), and Jeanne Van Heeswijk (2014-15). Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 23 Bard College THE SPEAKER’S SERIES

CCS Bard hosts a regular program of lectures by leading artists, curators, art historians, and critics, situating the school and museum’s concerns within the larger context of contemporary art production and discourse.

SELECTED SPEAKERS (FALL 2015 – FALL 2017)

Martin Beck Prem Krishnamurthy Richard Birkett Thomas Lax Tania Bruguera Mason Leaver-Yap Jasmina Cibic Gareth Long Celine Condorelli Raimundas Malasausakas Bridget Crone Naeem Mohaiemen PUBLIC Sara Cwynar Carlos Motta Bridget Donahue Ulrike Müller Annie Fletcher Robert Nickas Orit Gat Brian O’Doherty PROGRAMS & David Getsy Eduardo Padilha Thelma Golden Philippe Pirotte Pablo Helguera Elizabeth Price PUBLISHING Rujeko Hockley Sarah Rifky Milena Hoegsberg Gregory Sholette James Hoff Anton Vidokle Vlatka Horvat Maryam Jafri

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 24 Bard College PUBLISHING INITIATIVES

ACCESSIONS

aCCeSsions is the graduate student-led online journal of the Center for Curatorial Studies, Bard College. The second year students comprise the editorial board ofaCCeSsions . Together, they employ a collaborative approach to commissioning, editing, and curating new transdisciplinary writing and artworks for online space. These new visual, text-based, and aural contributions revolve around a new theme each issue. The journal also includes a new section called “BackTalk.” Here, each individual editor will publish a compilation of links related to their trains of thought, on a bi-monthly basis. aCCeSsions represents a culmination of each graduating class’ collaborative interests and concerns. The platform is a space in which graduate students may test the limits of curatorial practice over the course of an annual publication cycle.

AFTERALL EXHIBITION HISTORIES

Exhibition Histories focuses on exhibitions of contemporary art from the past fifty years that have changed the way art is seen and made. Each title in the series addresses a different theme in the history of curatorial practice, with specific reference to a particular exhibition or cluster of exhibitions. Each book includes newly commissioned essays and interviews, key Graduate Program texts from the time (such as Hessel Museum reviews), and comprehen- Library and Archives sive visual documentation. Curriculum Published by Afterall Books Faculty in association with the Acad- Residencies emy of Fine Arts Vienna, the Public Programs Center for Curatorial Stud- Curatorial Award Alumni/ae Application Requirements 25 Bard College ies, Bard College, and Van Abbemuseum. Published titles include Exhibiting the New Art: ‘Op Losse Schroeven’ and ‘When Attitudes Become Form’ 1969 (2010); Making Art Global (Part 1): The Third Havana Biennial 1989 (2011); From Conceptualism to Feminism: Lucy Lippard’s Numbers Shows 1969-74 (2012); Making Art Global (Part 2): ‘Magiciens de la Terre’ 1989 (2013); Exhibition as Social Intervention: ‘Culture in Action’ 1993 (2014); Cultural Anthropoph- agy: The 24th Bienal de São Paulo 1998 (2015); Exhibition, Design, Participation: ‘an Exhibit’ 1957 and Related Projects (2016); and Anti-Shows: APTART 1982-84 (2017).

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 26 Bard College Each year, CCS Bard celebrates the achievements of a leading curator whose lasting contributions have shaped the way we conceive of exhibition-making today. The awardee is selected by an independent panel of leading contemporary art curators, museum direc- tors, and artists. The award reflects CCS Bard’s commitment to recognizing individuals who have defined new thinking, bold vision, and dedicated service to the field of exhibition practice. In 2012, CCS Board member, Audrey Irmas, provided an endowment for the award, which now carries a cash prize of $25,000. AUDREY AWARD RECIPIENTS INCLUDE 2017 Sir Nicholas Serota 2016 Thelma Golden IRMAS S 2015 Christine Tohmé and Martha Wilson 2014 Charles Esche 2013 Elisabeth Sussman AWARD 2012 Ann Goldstein 2011 Hans Ulrich Obrist and Helen Molesworth 2010 Lucy Lippard FOR 2009 Okwui Enwezor 2008 Catherine David 2007 Alanna Heiss 2006 Lynne Cooke and Vasif Kortun CURATORIAL 2005 Kathy Halbreich and Mari Carmen Ramírez 2004 Walter Hopps 2003 Kynaston McShine EXCELLENCE 2002 Susanne Ghez 2001 Paul Schimmel 2000 Kasper König Graduate Program 1999 Marcia Tucker Hessel Museum 1998 Harald Szeemann Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 27 Bard College Approximately 90% of Visual Arts Independent curator CCS Bard graduates are Cambridge, MA Brooklyn, NY currently working in a Assistant Curator, Researcher, curatorial or related Eli and Edythe Luxembourg & Dayan position in the arts. Broad Art New York, NY The following list Foundation Gallery Director / includes institutions Los Angeles, CA Assistant Curator, and positions held or Kress Curatorial P! previously held by CCS Fellow, Hampshire New York, NY Bard graduates. College Co-editor, Amherst, MA Brooklyn Rail Curatorial Fellow, New York, NY U.S. Blaffer Art Museum Programmer-at-Large, Houston, TX Film Society Curator, Curatorial Assistant, Lincoln Center Fusebox Festival Institute for New York, NY Austin, TX Contemporary Editor-at-Large, John Alchin and Art Virginia Verso Books Hal Marryatt Commonwealth New York, NY Associate Curator University Director of Visual of Contemporary Richmond, VA Arts & Curator, Art, Philadelphia Executive Director, The Americas Museum of Art A.I.R. Gallery Society PA Brooklyn, NY New York, NY Curator, Director, Curator, SculptureCenter Martos Gallery The Bronx Museum ALUMNI/AE Long Island City, Los Angeles, CA of the Arts NY Director of Programs, Bronx, NY Curator, apexart Interpretive Materials MoMA, PS1 New York, NY Manager, New York, NY Regional Director, The Brooklyn Assistant Curator, Artist Pension Museum of Art Abu Dhabi Project, Trust Brooklyn, NY Guggenheim Museum New York, NY Programs Coordinator, New York, NY Artistic Director, Sackler Center Executive Director, ArtCenter/South for Feminist Art, Art in General Florida Brooklyn Museum New York, NY Miami Beach, FL Brooklyn, NY Director and Curator, The Artist’s Institute New York, NY Assistant Editor, Artforum Graduate Program New York, NY Hessel Museum Richard Armstrong Library and Archives Curator of Modern and Contemporary Curriculum Art, Carnegie Faculty Museum of Art Residencies Pittsburgh, PA Director, Carpenter Public Programs Center for the Curatorial Award Alumni/ae Application Requirements 28 Bard College Vice President and Director, Director of Curator, Curator of Curator of Head of Latin David Nolan Exhibitions and Mass MoCA Exhibitions, Contemporary Art, American Art, Gallery Public Programs, Amherst, MA Weatherspoon Krannert Art Christie’s New York, NY Tyler School Curatorial Assistant, Art Museum, The Museum, University New York, NY Director, of Art, Temple Contemporary Art, University of of Illinois at Ph.D. Candidate, Peter Blum Gallery University Museum of Art, North Carolina at Urbana- Champaign Art History, New York, NY Philadelphia, PA Rhode Island Greensboro IL Columbia Director, Curator, School of Design Chief Curator/Deputy Assistant Curator, University The Project University at Providence, RI Director, Walker Art Center New York, NY New York, NY Buffalo Art Director, Housatonic Miami Art Museum Minneapolis, MN Curatorial Assistant, Founder and Director, Galleries Museum of Art, Miami, FL Visual Arts International Simone Subal Buffalo, NY Housatonic Partner, Dorsch Administrator, Center of Gallery Assistant Curator, Community College Gallery The Phipps Center Photography New York, NY Experimental Media Bridgeport, CT Miami, FL for the Arts New York, NY Founder, & Performing Arts Creative Director, Director of Visual Hudson, WI Editor, The Chrysler Center, Rensselaer Franklin Street Arts, Senior Curator, Metropolitan Series Polytechnic Works Contemporary Arts Des Moines Museum of Art New York, NY Institute Stamford, CT Center Art Center New York, NY Program Manager, Troy, NY Associate Curator of New Orleans, LA IA Curatorial Fellow, Leveraging Managing Director, Contemporary Art, Public Arts Planner, Assistant Curator Queens Museum of Investments in 511 Gallery Carnegie Museum City of Louisville of Contemporary Art, Art Creativity New York, NY and of Art Louisville, KY Blanton Museum Queens, NY New York, NY Lake Placid, NY Pittsburgh, PA Executive Director, of Art, The Director of Project Curator, Gallery Director, Ph.D. Candidate, UrbanArt University Affiliates, Photographic Berrie Center for Art History, Commission of Texas Solomon R. Legacy Program, the Performing University of Memphis, TN Austin, TX Guggenheim The Andy Warhol and Visual Arts, Pittsburgh Director, Ph.D. Candidate, Foundation Foundation for the Ramapo College of Pittsburgh, PA Gallery 400, History of Art, New York, NY Visual Arts New Jersey Director, The American University of University Kress Fellow in New York, NY Mahwah, NJ Jewish Museum Illinois at of Texas Interpretive Curator, Director, Pittsburgh, PA Chicago Austin, TX Technology, Dia Art Foundation University Director of Chicago, IL Director, Whitney Museum New York, NY Galleries, Exhibitions Director of University of of American Art Curator, William Peterson and Programs, Exhibitions, North Texas Art New York, NY Samuel Dorsky University University of Hyde Park Art Gallery, College Assistant to artist Museum of Art, Wayne, NJ Southern Maine Center of Visual Arts Lilliana Porter SUNY New Paltz Director and Gorham, ME Chicago, IL and Design New York, NY New Paltz, NY Chief Curator, Director of Denton, TX Co-Director, Curatorial Associate, Boston University Development, Forever & Today, Center for Art Gallery Science Museum of Inc. Curatorial Boston, MA Western Virginia New York, NY Studies, Bard Ph.D. Candidate, Roanoke, VA Curator of College History, Theory, Curator of Contemporary Art, Annandale-on- and Criticism of Contemporary Art, Graduate Program Colección Patricia Hudson, NY Architecture and Southeastern Hessel Museum Phelps de Cisneros Associate Director/ Art, MIT Center for Library and Archives New York, NY Curator, Boston, MA Contemporary Art Curatorial Associate, The Tang Teaching Senior Curator of Winston-Salem, NC Curriculum Performa Museum and Art Contemporary Art, Faculty New York, NY Gallery, Skidmore The Museum of Residencies College Fine Arts Saratoga Springs, Boston, MA Public Programs NY Curatorial Award Alumni/ae Application Requirements 29 Bard College Manager of Adult Artistic Director of Ontario Manager of Public Programs, Arts & Events, Culture Days Seattle Art Museum Fondazione CRT Toronto, Ontario, Seattle, WA Turin, Italy Canada Assistant Curator Arts Faculty, (Public Programmes), Master’s Program WORLDWIDE Tate in Visual Arts, London, England Morelos State Member of curatorial Editor-in-Chief, University Mexico team, documenta 14 Contemporary City, Mexico Director, Art Daily Coordinator, Witte de Witte Lithuania Sala de Arte Rotterdam, Curator, Público Siqueiros Netherlands Southern Alberta (SAPS), LaTallera Program Manager, Art Gallery Mexico City,Mexico collectorspace Lethbridge, Faculty, Istanbul, Turkey Alberta, Canada M.A. Program Curator, Interim Director, in Cultural The Center for Centre for Administration, Contemporary Art Art Tapes University of Tel Aviv, Israel Halifax, Puerto Rico Creative Director, Nova Scotia,Canada San Juan, The Center for Curator, Puerto Rico Historical The MacLaren Art Associate Curator Reenactments Center of the 3rd San Fellow, Curator, Editor, Johannesburg, Barrie, Ontario, Juan Poly/Graphic Core Residency Nicolaysen East of Borneo, South Africa Canada Triennial Program, Museum of Art Museum California Managing Editor, Elizabeth Simonfay (April 2012) Fine Arts Casper, WY Institute of m-est.org Curatorial Resident, San Juan, Houston, TX Ph.D. Candidate, the Arts Istanbul, Turkey National Gallery Puerto Rico Assistant Professor of History of Art, Los Angeles, CA International Fellow, of Canada Developing Critical Theory, University of Director, MEWO Kunsthalle Ottawa, Ontario, Contemporary Art Media and Design, California China Art Objects Memmingen, Germany Canada Program, School of Art, Berkeley, CA Galleries Fellow, Curator, Universidad University of Associate Curator Los Angeles, CA Casco – Office Gallery TPW Torcuato Di Tella Houston of Special Senior Curator, for Art, Design Toronto, Ontario, Buenos Aires, TX Initiatives, Los Hammer Museum and Theory Canada Argentina Program Director, Angeles County Los Angeles, CA Utrecht, Mitchell Center Museum of Art Assistant Curator, Netherlands for the Arts, Los Angeles, CA New Museum Ph.D. Candidate, University of Curator/Founder, New York, NY Art History and Houston The Company Assistant Curator in Communications, TX Los Angeles, CA Architecture, McGill University Senior Manager, Director of SFMOMA Montreal, Canada Graduate Program Public Art San Exhibitions, San Francisco, CA Manager, Hessel Museum Antonio (PASA), Publications, Senior Exhibitions Culture Academy, Library and Archives International and Programs Manager, National Heritage Center Hammer Museum Yerba Buena Center Board Curriculum San Antonio, TX Los Angeles, CA for the Arts Singapore Faculty Assistant Director, San Francisco, CA Curator, Residencies Roswell Museum National Gallery and Art Center of Canada Public Programs Roswell, NM Curatorial Award Alumni/ae Application Requirements 30 Bard College Doctoral Fellow, Curator, Curator of National Council of Espai 13 Contemporary Art, Scientific Research (2011–2012), National Museum of (CONICET) Buenos Fundació Joan Miró Art, Architecture Aires, Argentina Barcelona, Spain and Design Artistic Director, Director of Studies Oslo, Norway Mercosul Biennial and Publications, Acting Chief Curator, Porto Alegre, Sociedad Estatal Henie-Onstad Brazil de Conmemoraciones Art Center Ph.D. Candidate, Culturales Oslo, Norway Art History, Madrid, Spain Faculty, and Criticism, Exhibitions Film Academy Universidade Coordinator, Prague, Federal do Rio de Centre for Czech Republic Janeiro Fine Arts,Brussels Curator, Brazil Belgium Ludwig Museum of Curator, INCUBO Assistant Curator, Contemporary Art Santiago, Chile Centre Budapest, Hungary Faculty, Pompidou-Metz Codirector, Art Department, France Rampa Gallery Universidad de Curator of Painting Istanbul, Turkey los Andes and Sculpture, Curator, Bogota, Colombia Sprengel Museum Arsenal Gallery Exhibitions Manager, Hannover, Germany Bailystok, Poland Ikon Gallery Head of Department, Faculty, Birmingham, Documenta University England und Museum of Gdansk U.K. Assistant Kassel, Germany Poland Curator, Founder, Director, Tate Modern Peep-Hole Marat Guelman London, England Milan, Italy Gallery Ph.D. Candidate, Curatorial Residency, Kiev, Ukraine Goldsmiths Fondazione Founder, College, Sandretto Re Durban Declaration University Rebaudengo Programme of of London Torino, Italy Action Watch Group England Curator, Durban, Curator of Fondazione South Africa Exhibitions, Sandretto Re Performance Artist Kettles Yard, Rebaudengo and Director, University of Turín, Italy Joey Chang Art Cambridge Curator-in-Residence, Consulting England Fondazione Beijing, China Reader, Sandretto Re Curatorial Team, Graduate Program Curatorial Rebaudengo Art Center Nabi Hessel Museum Resource for Turín, Italy Seoul, Korea Library and Archives New Media Art, Director of University of Publications, Curriculum Sunderland BAK Utrecht, Faculty Sunderland, Netherlands Residencies England Public Programs Curatorial Award Alumni/ae Application Requirements 31 Bard College The below is for reference only.

For complete and current application instructions and links to the online application, please refer to www.bard.edu/ccs/graduate/admission

DEADLINE – February 1

The following should be submitted with the application form:

1 A brief (800–1,000 words) statement of interest describing your reasons for pursuing graduate work in curatorial studies, previous academic and professional preparation, and familiarity with contemporary art issues and related discourses. 2 A brief (700 words) review of a recent exhibition of contemporary art. We are especially interested in your assessment of the curatorial aspects and methodologies of the exhibition— for APPLICATION example, how it structures and enhances the viewer’s experience and understanding of the works it presents or, alternatively, how it fails to do so. REQUIREMENTS 3 A brief (700 words) proposal for a curated project that you would like to realize. Include a preliminary checklist and a brief curatorial abstract. 4 A curriculum vitae 5 Three (3) letters of recommendation (see below for instructions on how to register your recommenders using the online application). 6 A non-refundable application fee of $65.00, payable online with a valid credit card or electronic check, or with a Graduate Program check or money order made Hessel Museum out to Bard College and Library and Archives mailed to CCS Bard. Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 32 Bard College The following should be sent under separate cover: ADMISSION REQUIREMENTS Consequently, only limited transfer Applicants for admission must hold credits (no more than 4 credits or a B.A., B.S., or B.F.A. degree from the equivalent of two courses) will 1 Official transcripts from all postsecondary institutions attended an accredited college or university be given for course work complet- in the United States, or a bacca- ed elsewhere. Requests for trans- 2 Letters of recommendation: The Center for Curatorial Studies laureate or equivalent degree from fer of credit must be made when a accepts letters of recommendation through the online applica- a college or university outside the student applies for admission and tion system. When prompted, enter the recommender’s name United States. will be reviewed by the Graduate Committee. Transfer credits may be and e-mail address. The recommender will receive an e-mail with An applicant’s undergraduate major used only to meet elective course detailed instructions on how to submit his/her recommendation need not be in art history or the requirements. Students receiving studio arts; however, applicants 4 transfer credits in a single dis- online. The status of recommendation letters can be viewed by must demonstrate that they have a tribution area will be required to logging back into the online application system. broad knowledge of the history of take at least one further elective art, as well as an acquaintance in that area during their studies with the contemporary visual arts. at CCS Bard. Letters of recommendation are also accepted on paper. The letters INTERNATIONAL STUDENTS CALENDAR should be addressed to Graduate Admissions, signed across the In addition to the application January 1 – February 1 sealed flaps, and sent directly to the Center for Curatorial Studies materials listed above, inter- FAFSA submitted for students who by the authors. national students must provide evi- are U.S. citizens dence of proficiency in English—for February 1 The deadline for receipt of application materials is February 1 of each example, a minimum score of 550 on Application for admission and year. An application is considered incomplete and cannot be acted the Test of English as a Foreign International Student financial aid Language (TOEFL). Proficiency in application due to CCS Bard upon until all the materials listed above are received by CCS Bard. English may also be established by March 31 Applicants will receive notification of admission by March 31, and an interview and writing samples. Notification of admission and To receive visa documentation, financial aid awards must respond with their enrollment decision by April 15. international applicants must sub- April 15 mit proof that their income from New students’ decision to enroll all sources will be sufficient to and $515 enrollment deposit due meet expenses for the duration of July 31 their study in the United States. A Fall tuition payment due Certification of Finances must be January 5 completed. Evidence may come from Spring tuition payment due the following sources: The graduate program offers signif- 1 An affidavit from a bank icant scholarship and fellowship 2 Certification by parents, or sponsors, of their ability APPLY ONLINE to provide the necessary funds ↪ 3 Certification, by an employer, of anticipated income Graduate Program TRANSFER CREDIT Hessel Museum The graduate curriculum is orga- Library and Archives nized to encourage ongoing discussion of curatorial issues among Curriculum students of varied backgrounds and Faculty interests. To this end, half of Residencies each student’s courses are taken with his or her entering class. Public Programs Curatorial Award Alumni/ae Application Requirements 33 Bard College awards on the basis of need, as de- 2 International Student Certifi- ate student may be eligible for a fundable. Tuition and fees for the termined annually through the fed- cation of Finances supplemental, unsubsidized loan (in academic year will be billed in two eral government and Bard College. addition to a basic subsidized or equal installments, with payments CCS Bard fellowships are awarded on Students whose admission and finan- unsubsidized loan), for an amount due around July 31 and January 5. the basis of achievement and prom- cial aid applications are completed up to $12,000 annually (over and Billing statements will reflect ise, as determined by the Graduate by February 1 will be notified of above the $8,500 in the basic Di- charges and financial aid awards, Committee in its review of applica- financial aid awards by March 31. rect program), provided that the including all Federal Direct Loan tions for admission. Scholarships To be eligible for federal stu- total amount of assistance does not applications on file. Unpaid bal- are awarded on a year-to-year basis dent aid, applicants must not be exceed the cost of the graduate ances will be subject to a late as determined by the students' in default of repayment of feder- program. The procedures for filing payment fee of $100 and finance financial need. Students, who are al student loans or owe refunds for a loan will be explained when charges of 1 percent per month (12 U.S. citizens, may also apply for on federal student grants. Awards the student is notified about el- percent per annum). A student who federal loans. These programs are of financial aid are made without igibility. Procedures for loan dis- has outstanding indebtedness to briefly described below. More de- reference to age, color, ethnic or bursements will be explained when Bard College will not be allowed tailed information can be obtained national origin, gender, disabili- loans are approved. to register or re-register, receive from CCS Bard. Financial aid is ty, marital status, race, or sexual a transcript of record, have administered by the Bard College orientation. academic credits certified, or Office of Financial Aid. FEDERAL PLUS LOANS have a degree granted. Graduate students can access the FEDERAL DIRECT LOANS Federal PLUS Loan program to cover FINANCIAL AID/SCHOLARSHIPS Federal Direct Loans are avail- the portion of the cost of educa- REFUNDS Eligibility for financial aid is able as subsidized or unsubsidized tion not covered by other financial No refund of any fees will be based on financial need. Financial loans. To qualify for a subsidized aid. This loan is guaranteed by made in the event that a student need for U.S. citizens is assessed loan, the student must demonstrate the federal government and may be withdraws from the program at any by a uniform method, using data financial need. The federal gov- deferred while the student is en- time after registration, except as provided by the student on the Free ernment pays the interest on the rolled at least half time. A credit herein specified. In all cases, the Application for Federal Student Aid subsidized loan while the student check is required. student must submit an official re- (FAFSA). The FAFSA form should be is enrolled; the student begins quest for withdrawal to the Gradu- filed electronically at www. fafsa. repaying the loan principal and ate Program. The date of submission ed.gov as soon after January 1 as paying interest six months after TUITION AND FEES of such a request will determine possible and no later than he or she ceases to be enrolled. A Tuition for the 2017–18 academic the amount of refund. Students who February 1. student may qualify for an unsubsi- year is $39,748, and may vary from officially withdraw before the dized loan regardless of need. The year to year. Fees include a $1,000 first day of classes for the term For complete financial aid appli- student is responsible for paying fee for exhibition expenses for the in question will be given a full cation instructions and links to interest on the unsubsidized loan final master’s degree project. The refund of all charges, less the the application forms, please refer while he or she is enrolled. Inter- latter fee is charged in install- enrollment deposit. If the official to our website, www. bard.edu/ccs/ est payments begin accruing 60 days ments of $500 each semester of a withdrawal from the program occurs graduate/financialaid. after the loan is disbursed. As student’s second year. A $220 reg- after the first day of classes in with the subsidized loan, repayment istration fee and $470 health fee International students, although on the loan principal begins six are charged per year, and a $120 not eligible for financial assis- months after the student ceases to graduation fee is charged prior tance from the federal government be enrolled. Payments on interest to graduation. Students who take of the United States, may quali- and principal of an unsubsidized longer than two years to complete fy for aid administered by Bard loan may be deferred, but inter- their work toward the master’s Graduate Program College. est will accrue and compound. The degree are charged a maintenance- Hessel Museum federal processor requires that a of-status fee of $500 per year. Library and Archives If you are not a U.S. citizen and student first apply for a subsi- you wish to apply for financial dized loan before applying for an Curriculum aid, you will need to fill out the unsubsidized loan. SCHEDULE OF PAYMENT Faculty following forms: New students must pay a $515 en- Residencies A student may borrow up to $8,500 rollment deposit by April 15. The 1 International Student Financial annually through the basic Feder- deposit is applied towards the Public Programs Aid Application al Direct Loan program. A gradu- student’s tuition and is nonre- Curatorial Award Alumni/ae Application Requirements 34 Bard College a given term, tuition is refund- in finding housing. can Council of Learned Societies, other members of Bard College com- ed as follows: If the withdrawal Association of American Colleges munity (including, but not limited occurs within the first week of During the academic year, graduate and Universities, College Entrance to, vendors, visitors, and guests) classes, 75 percent of tuition is students may put money on their Examination Board, Commission on shall not be subject to discrimi- refunded; within the second week, Bard ID card which can be used at Independent Colleges and Universi- nation or harassment prohibited by 60 percent of the tuition is re- the Bard College dining facilities. ties, and Environmental Consortium law or otherwise treated adversely funded; within the third or fourth of Colleges and Universities. based upon a protected character- weeks, 30 percent of the tuition istic. Similarly, the College will is refunded; after four weeks, no Medical Records and not tolerate harassing, violent, refunds are given. Health Service Health Insurance EDUCATIONAL RIGHTS intimidating, or discriminatory and student health insurance fees Prior to arrival at Bard, all AND PRIVACY ACT conduct by its students, employees, are not refundable. students are required to complete Bard College complies with the pro- or any other member of, or visitor a health packet, which includes visions of the Family Educational to, the College community. This in- Refunds to financial aid recipients documentation of a recent physical Rights and Privacy Act of 1974. cludes, without limitation, sexual who withdraw from the program will examination and complete immuniza- This act assures students attend- harassment, sexual assault, sexual be affected by a reduction in the tion records. New York State law ing a postsecondary institution violence, dating violence, and do- amount of the grant; any insti- requires that all students born af- that they will have the right to mestic violence. tutional grant, scholarship, or ter January 1, 1957, provide proof inspect and review certain of their fellowship will be reduced by the of immunization against measles, educational records and, by follow- same percentage as indicated in the mumps, and rubella. Additionally, ing the guidelines provided by the tuition refund schedule above. Re- students must be provided informa- College, to correct inaccurate or funds to recipients of federal aid tion about meningococcal meningitis misleading data through informal (Federal Direct Loan) who withdraw and must document having received or formal hearings. It protects will be calculated according to the the vaccine or sign a waiver de- students’ rights to privacy by federal refund policy concerning clining it. All students must pro- limiting transfer of these records the amount of the Federal Direct vide proof of health insurance. without their consent, except in Loan to be returned to the lender. specific circumstances. Students A student who is considering with- Bard College offers students acci- have the right to file complaints drawal may wish to confer with the dent and health insurance, which with the Family Policy Compliance Office of Student Accounts and the includes use of the Bard College Office, U.S. Department of Educa- Office of Financial Aid concern- Health Service. For information tion, Washington, D.C. College ing any anticipated refund and the about immunization requirements and policy relating to the maintenance amount of the Federal Direct Loan health insurance, call the Bard of student records is available, that Bard College must return to Health Services at (845) 758-7433. on request, from the Office of the lender, since this amount will the Registrar. have a direct bearing on the amount of refund, if any, that the College Accreditation will provide the student. Bard College is accredited by the NOTICE OF NONDISCRIMINATION Commission on Higher Education of Bard College is committed to No refund is made in cases of sus- the Middle States Association of ensuring equal access to its pension or expulsion. Colleges and Schools. The courses educational programs and equal of study leading to the Master of employment without regard to an Arts in Curatorial Studies de- individual’s sex, gender, race, HOUSING, MEDICAL, gree at the Center for Curatorial color, national origin, religion, Graduate Program ACCREDITATION Studies, Bard College is registered age, disability, gender identity, Hessel Museum by the New York State Education sexual orientation, predisposing Library and Archives Accommodations and Meal Plans Department, Office of Higher Educa- genetic characteristics, marital There is limited campus housing for tion, Room 977 Education Building status, veteran status, military Curriculum graduate students. Apartments and Annex, Albany, NY 12234; phone 518- status, domestic violence victim Faculty houses for rent can be found near 486-3633. status, ex-offender status, or any Residencies the Bard College campus, and CCS other characteristic protected by Bard maintains a list of real es- Bard is also a member of the Ameri- federal, state, or local law. Stu- Public Programs tate agents who can assist students can Council on Education, Ameri- dents, employees, applicants, and Curatorial Award Alumni/ae Application Requirements 35 Bard College Founded in 1860, Bard College is a leader in the field of liberal arts and sciences, with exceptional strengths in the studio and performing arts. Offering outstanding academic opportunities and small group learning experiences, Bard has distinguished itself as one of the most innovative liberal arts programs in the country. Bard has built a reputation as a place of innovation in higher education and a force for the rebirth of intellectual thought in public life. Since 1975, Bard has developed a novel structure of “satellite” research institutes and graduate programs, including the Center for Cura- torial Studies, the Bard Graduate Center for Studies in the Decora- tive arts, Design, and Material Culture, the Milton Avery Graduate School of the Arts, the International Center of Photography-Bard Program in Advanced Photographic Studies, the Bard Center for Environmental Policy, the Master of Arts in Teaching Program, and the Bard College Conservatory of Music. BARD COLLEGE

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 36 Bard College Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 37 Bard College TRAVEL TO BARD analysis through specialization in one of the Levy Institute’s main research areas: macroeconomic theory, policy, and modeling; mon- The Center for Curatorial Studies and the Hessel Museum of Art are etary policy and financial structure; distribution of income, wealth, located in Annandale-on-Hudson, New York, about 90 miles north and well-being, including gender equality and time poverty; and of New York City. employment and labor markets. During the two-year M.S. program, students are required to participate in a graduate research assis- For more detailed directions please see http://www.bard.edu/ccs/visit/ tantship at the Levy Economics Institute of Bard College. www.bard.edu/levyms

GRADUATE PROGRAMS AT BARD COLLEGE Since 1981, the Milton Avery Graduate School of the Arts has offered a summer-residency program leading to the master of fine arts The Bard Center for Environmental Policy (Bard CEP) confers master degree. Taught by working artists, the program includes eight-week of science degrees in environmental policy and in climate science intensive residencies on the Bard campus in three summers, with and policy. Through its academic and public programs, Bard CEP students continuing their work independently off campus during addresses local, national, and global policy issues pertaining to the the two intervening winters. Student work is critiqued and eval- natural and built environments, using the best available scientific uated by faculty and students from all six disciplines: film/video, knowledge. Bard CEP also offers degree options for returned Peace music/sound, painting, photography, sculpture, and writing. The Corps volunteers and for Bard College undergraduates, as well as result is a vibrant, interdisciplinary dialogue within a close-knit dual-degree opportunities with Pace Law School, the Bard MBA in community of artists of all ages and mediums. Sustainability, and Bard’s Master of Arts in Teaching Program. www.bard.edu/mfa www.bard.edu/cep Bard Graduate Center: Decorative Arts, Design History, Material Culture The Bard MBA in Sustainability challenges students to integrate three (BGC) is a research institute in New York City offering M.A., M.Phil. goals: profit, continuous reduction in ecological impact, and stake- and Ph.D. degrees in the history of the decorative arts, design holder engagement. It focuses on the practical case for sustain- history, and material culture. BGC’s academic programs draw on ability while providing a rigorous business education. Students methodologies from art and design history, economic and cultural pursing the M.B.A. degree receive grounding in core business history, history of technology, practices with a focus throughout on economics, environment, and philosophy, anthropology, social equity. Over the course of this two- or three-year program, and archaeology. BGC’s students engage in five weekend residencies per term, four in New research projects and exhi- Graduate Program York City and one in the Hudson Valley, as well as online courses in bitions raise questions at the Hessel Museum the evenings throughout each semester. A dual M.B.A./M.S. degree crossroads where the dec- Library and Archives with the Bard Center for Environmental Policy is also offered. orative arts, design history, Curriculum www.bard.edu/mba and material culture studies Faculty meet. Residencies Bard’s Levy Economics Institute Master of Science in Economic Theory bgc.bard.edu Public Programs and Policy provides a strong emphasis on empirical and policy Curatorial Award Alumni/ae Application Requirements 38 Bard College The Master of Arts in Teaching Program at Bard College in New York The Orchestra Now (TŌN) is a unique training orchestra and master’s leads to an M.A.T. degree and New York State Initial Teacher Certifi- degree program designed to prepare musicians for the challenges cation (grades 7–12) in English, history, mathematics, or biology. The facing the modern symphony orchestra. Musicians receive three New York program is offered as a one-year/full-time or two-year/ years of advanced orchestral training and take graduate-level part-time option. The program in Los Angeles leads over two years courses in orchestral and curatorial studies, leading to a master to an M.A.T. degree and a California Single Subject Credential in of music degree in curatorial, critical, and performance studies. English language arts or social science and is aligned with student TŌN performs concert series at Carnegie Hall, the Metropolitan placements or employment in educational settings. The Al-Quds Museum of Art in New York City, and in concert halls throughout Bard MAT Program in East Jerusalem leads to dual M.A.T. degrees the Northeast. Leon Botstein, president of Bard College, is music (one from Bard and one from Al-Quds) in one of five areas: biology, director and principal conductor of TŌN. Guest conductors include English, general science, history, or mathematics. JoAnn Falletta, music director of the Buffalo Philharmonic Orches- www.bard.edu/mat tra, and Fabio Luisi, principal conductor of the Metropolitan Opera in New York City. The Graduate Vocal Arts Program is conceived, designed, and led by www.bard.edu/theorchnow renowned American soprano Dawn Upshaw. The two-year master of music degree program balances a respect for established rep- Longy School of Music of Bard College was created in 2012, when Bard ertory and expressive techniques with the flexibility and curiosity merged with the prestigious conservatory, founded in 1915 in Cam- needed to keep abreast of evolving musical ideas, and prepares bridge, Massachusetts. Longy offers an M.Music degree; graduate the young singer to meet the challenges of pursuing a professional diplomas; and a graduate performance diploma. In January 2013, life in music. The Graduate Conducting Program, orchestral and Bard College, the Longy School of Music of Bard College, and Los choral, is a master of music degree program that equips its gradu- Angeles Philharmonic initiated an M.A.T. degree program in music, ates with the broad-based skills necessary to meet the special op- leading to a California preliminary Single Subject Teaching Creden- portunities and challenges of a conducting or conducting-related tial in music. The program’s curriculum unites Bard’s experience in career. It is designed and directed by Harold Farberman, founder developing innovative academic and socially based teacher-train- and director of the Conductors Institute at Bard; James Bagwell, ing programs with Longy’s long history of progressive and rigorous chair of the undergraduate music department, associate conduc- training for performing and teaching musicians. tor of The Orchestra Now (TŌN), and principal guest conductor of www.longy.edu the American Symphony Orchestra; and Leon Botstein, president of Bard College, music director of The Orchestra Now (TŌN) and The International Center of the American Symphony Orchestra, and conductor laureate of Photography-Bard Program Graduate Program the Jerusalem Symphony Orchestra. The Advanced Performance in Advanced Photograph- Hessel Museum Studies Program is a non–degree granting, four-semester graduate ic Studies (ICP), founded Library and Archives certificate program for exceptionally gifted performers who wish to in 2003, awards an M.F.A. Curriculum continue their study of music through concentrated study with the degree in photography in Faculty world-class faculty of the Bard Conservatory. collaboration with the Milton Residencies www.bard.edu/conservatory/programs Avery Graduate School of the Public Programs Arts. The two-year program, Curatorial Award Alumni/ae Application Requirements 39 Bard College based at ICP’s facilities in New York City, presents an integrated curriculum of studio practice, critical study, seminars, resident artist projects, and internships with leading professional photog- raphers and photography organizations. Students make full use of the resources of ICP’s curatorial team and museum collection. www.icp.org/school/icp-bard-mfa

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 40 Bard College BOARDS AND ADMINISTRATION STAFF

CCS Board of Governors Tom Eccles, Executive Director Martin Eisenberg, Chairman Lauren Cornell, Director of the Graduate Program and Chief Curator Leon Botstein, ex officio Tracy Pollock, Director of Administration and Development Amy Cappellazzo Marcia Acita, Director of Exhibitions and Operations Lori Chemla Ann Butler, Director of Library and Archives Lonti Ebers Ramona Rosenberg, Director of External Affairs Marieluise Hessel, Founding Chairman Andrew Blackley, Director of Collections Research Maja Hoffmann Amanda Bard, Graduate Program Coordinator Ruth Keating Lockwood Karlene King, Administrative and Development Coordinator Patrizia Sandretto Re Rebaudengo Mark DeLura, Preparator Annabelle Selldorf Amy Linker, Registrar Melissa Schiff Soros Bronwen Bitetti, Librarian Michael Ward Stout Ryan Evans, Archivist Audrey Irmas, Emeritus Trian Mort, Administrative Assistant

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 41 Bard College Academic programs at CCS Bard, including student scholarships and fellowships, are made possible with support from the CCS Board of Governors, and the Patrons, Supporters, and Friends of the CCS Bard Graduate and Exhibition Fund. www.bard.edu/ccs

Graduate Program Hessel Museum Library and Archives Curriculum Faculty Residencies Public Programs Curatorial Award Alumni/ae Application Requirements 42 Bard College Cover & P4: Installation view fromExhibitionism , Hessel Museum of Art, October 20, 2007 - February 17, 2008. Photo: Chris Kendall. P9: Installation view fromCarta Blanca, Hessel Museum of Art, as part of the CCS Bard Class of 2017 Thesis Exhibitions, April 9 - May 28, 2017. Photo: Chris Kendall. P10: Opening day of Rachel Harrison, Consider the Lobster, CCS Bard Galleries, Bard College, Annandale-on-Hudson, NY. June 27 - De- cember 20, 2009. Photo: Karl Rabe. P15: Installation view fromPraising the Surface, Hessel Museum of Art, as part of the CCS Bard Class of 2016 Thesis Exhibitions. Photo: Chris Kendall. P19: Hito Steyerl Factory of the Sun, 2015. Installation view from Invis- ible Adversaries, Hessel Museum of Art, June 25 - September 18, 2016. Photo: Chris Kendall. P25: Installation view from If you lived here, you'd be home by now, Hessel Museum of Art, June 25 - December 16, 2011. Photo: Chris Kendall. CREDITS P26: Installation view fromExhibitionism , Hessel Museum ofArt, Octo- ber 20, 2007 - February 17, 2008. Photo: Chris Kendall. P30: Opening reception of Invisible Adversaries, Hessel Museum of Art, June 25 - September 18, 2016. Photo: Lisa Quinones. ANDP31: Opening day of Rachel Harrison, And Other Essays, Hessel Musem of Art, Bard College, Annandale-on-Hudson, NY. June 27 - December 20, 2009. Photo: Karl Rabe. CAPTIONS P37: Opening reception of Amy Sillman: One Lump or Two, Hessel Mu- seum of Art, June 28 - September 21, 2014. Photo Lisa Quinones. P40: Installation view fromAdap - tive Permanence, Hessel Museum of Art, as part of the CCS Bard Class of 2015 Graduate Program Thesis Exhibitions. Photo: Hessel Museum Chris Kendall. Library and Archives P42: Installation view fromWe Curriculum are the Center for Curatorial Faculty Studies, Hessel Museum of Residencies Art, October 15 - December Public Programs 16, 2016. Curatorial Award Alumni/ae Application Requirements 43 Bard College ↪ APPLY ONLINE

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