Bard College ART HISTORY PROGRAM

Posted in October, 2016

Happenings at Bard

Day of the Dead Ofrenda

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For Day of the Dead celebrations at Bard College an ofrenda was created in the campus center. Prof. Susan Aberth, (Latin American Art History),  along with students from the Queer/Straight Alliance, Latin American Students Organization, Caribbean Students Organization and Black Students Organization created this altar to those who died at Pulse in Orlando, Florida this past summer. The students found a Mexican bakery that sold Bread of the Dead, Prof. Aberth lent her calaveras and finally photographs of all those murdered in Orlando were placed as a memorial backdrop. A very meaningful event that honored the dead and brought solidarity to the Bard community. image2

Faculty News

Alex Kitnick on Panel to discuss Lillian Schwartz: Computer Art Pioneer

LILLIAN SCHWARTZ: COMPUTER ART PIONEER
on view through October 30.

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MAGENTA PLAINS | 94 Allen Street | New York, NY 10002 | 917.388.2464
Gallery hours are Wednesday – Sunday, 11am – 6pm.

Lillian Schwartz: Panel & Conversation
Friday, October 28 from 6 – 8 PM
Conversation to begin promptly at 6:30
Magenta Plains is pleased to welcome Rebekah Rutkoff, Jon Gertner, Alex Kitnick, and Ben Rubin for a panel discussion on Lillian Schwartz this Friday, October 28th from 6 – 8 PM.
ALEX KITNICK is an art historian and critic based in New York, and Brant Family Fellow in Contemporary Arts at Bard College. An editor of numerous volumes, including a collection of John McHale’s writings, The Expendable Reader: Articles on Art, Architecture, Design, and Media, 1951–1979, and October 136 on New Brutalism, he is also a frequent contributor to publications including Artforum, May, October, and Texte zur Kunst. He is currently teaching a course on Experiments in Art and Technology at Bard College.

Recent Press for Lillian Schwartz:
The New York Times
The New Yorker
Artforum Cover Feature
Artforum Critics’ Picks
The Village Voice
HYPERALLERGIC

Faculty News

Ingestion and Descent: The Chthonic Realms of Leonora Carrington

black-mirror-coverProfessor Susan Aberth in
Black Mirror 1: embodiment

“Ingestion and Descent: The Chthonic Realms of Leonara Carrington”

Fulgur Limited, Somerset, UK, 2016

Please clink here to read:

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Happenings at Bard

Humanitarian Heritage and Anxious Architectures in East Africa: A Long History of the Dadaab Refugee Camps

Amin Shopping Mall

Amin Shopping Mall

A lecture by
Anooradha Iyer Siddiqi, Assistant Professor and Faculty Fellow (NYU)

Tuesday, November 1st, 6:30pm
Olin 102
Co-sponsored by the Art History, Africana Studies, and Human Rights Programs (maybe Anthropology as well?)

This talk examines a history of the world’s largest designated set of settlements for refugees through its constructed environment and archival record, interrogating an ephemeral territorial form and the paradoxical heritage it proposes. If architecture and infrastructure have entrenched a quarter century of humanitarian intervention by the United Nations at Dadaab, Kenya, the site has been depicted instead as precarious. Occluded at once through aesthetic codings and archival silences, its permanence has been veiled in fragile architectures of an international humanitarian aid operation and in pastoral landscapes of a contested desert borderland traditionally inhabited by nomadic Somalis. Rather than a provisional artifact of the 1991 crisis that occasioned humanitarian operations in northeast Kenya, I posit that this territory unfolded as exceptional and emergent over the course of a century: knowable through visual, historical, and ethnographic study of architecture and territory. My research recuperates a figuration and construction of humanitarian territory in missionary settlements for freed slaves in the nineteenth century, imperial and postcolonial systems of land tenure in the twentieth, and forced sedentarization of pastoralists in the twenty-first. Through this analysis, I interrogate a problematic humanitarian heritage of furtive architectures, which at once liberate and coerce, resist as well as assert colonial and national borders, and make claims upon abject suffering as well as its salvation. These confront and index our representations and constructions of emancipation, emergency, city, Africa, the native, and the precariousness of ephemerality itself.

Notes from the Chair

Infinite Compassion at the Staten Island Museum

Patricia Karetzky, Guest Curator, Professor of Asian Art, Bard College
Infinite Compassion Curator’s Tour, Sunday, November 6, at 2:00 pm

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