'Joe / Brains / Lamar' is a multi-format program addressing questions of archive, memory, and the genealogy of queer culture and it features the participation of Matt Wolf, Carl Williamson, Ron Padgett, Anselm Berrigan, Ann Lauterbach, and Karly Wildenhaus, and includes a video installation, publication, website, archival display, and poetry reading co-hosted by CCS Bard and the John Ashbery Poetry Series. Retroactive is an exhibition of site-specific works by Greek artist Antonis Pittas, who was CCS Bard's Artist-in-Residence in 2011.
Joe / Brains / Lamar
February 1 – April 1, 2012
The Center for Curatorial Studies at Bard College (CCS Bard) is pleased to present Joe / Brains / Lamar, a multi-format program addressing questions of archive, memory, and the genealogy of queer culture. Opening on February 1, 2012 and unfolding over the course of two months, Joe / Brains / Lamar features the participation of Matt Wolf, Carl Williamson, Ron Padgett, Anselm Berrigan, Ann Lauterbach, and Karly Wildenhaus, and includes a video installation, publication, website, archival display, and poetry reading co-hosted by CCS Bard and the John Ashbery Poetry Series.
I Remember: A Film About Joe Brainard by Matt Wolf
CCS Bard Video Gallery & CCS Bard Library and archives, February 1 – February 26, 2012
I Remember: A Film About Joe Brainard, a newly-commissioned video by Matt Wolf, reflects on the life and work of the artist and writer Joe Brainard. Based on audio recordings of Brainard reading from his celebrated poem I Remember, as well as recollections by his friend and collaborator Ron Padgett (author of Joe: A Memoir of Joe Brainard), Wolf’s video presents an archival montage sourced from Brainard’s personal archives, alongside period footage. The installation is accompanied by a curated display of archival materials on view in the CCS Bard Library.
Joe Brainard: A Reading, by Ron Padgett, Anselm Berrigan, and Ann Lauterbach
CCS Bard Galleries, Thursday, February 9, 5-7pm
CCS Bard, in conjunction with the John Ashbery Poetry series, presents a reading of Brainard’s works by his friends, the poets Ron Padgett, Anselm Berrigan, and Ann Lauterbach (author of “Joe Brainard and Nancy” from The Nancy Book). The reading will be staged in the context of Retroactive, an exhibition by recent CCS Bard Artist-in-Residence Antonis Pittas, which was conceived as a platform for considering collective memory in the public sphere.
BRAINS: A Journal of Egghead Sexuality
CCS Bard Library and Archives, March 5 – April 1, 2012
In 1990, the artists Nayland Blake and D.L. Alvarez produced BRAINS: A Journal of Egghead Sexuality. Lasting a single issue, BRAINS combined a frank celebration of queer sexuality with tongue-in-cheek intellectualism. Graphic designer Carl Williamson revisits BRAINS in a (re)-publishing project that packages a reprint of Issue One together with a facsimile edition of materials related to the never-produced Issue Two. A related display of archival materials will be presented alongside Williamson’s project in the CCS Bard Library.
February 1 – April 1, 2012
Conceived by CCS Bard graduate student Karly Wildenhaus, in collaboration with curator Nathan Lee, this online platform reconfigures the Joe / Brains / Lamar exhibition website as a site to conflate mediation and the curatorial gesture, archival operations and real-time inquiry, documentation and production.
February 1-26, 2012
ANNANDALE-ON-HUDSON, NY, February 1, 2012 - The Center for Curatorial Studies at Bard College (CCS Bard) is pleased to present RETROACTIVE, an exhibition of site–specific works by Greek artist Antonis Pittas, who was CCS Bard’s Artist-in-Residence in 2011. This installation builds upon the ongoing dialogue explored in Pittas’ 2010 and 2011 exhibitions, Untitled (this is a historic opportunity for us) at the Van Abbemuseum in Eindhoven, and shame on you, at the Annet Gelink Gallery in Amsterdam, where Pittas lives and works.
RETROACTIVE was developed during Pittas’ 2011 residency at CCS Bard in conjunction with discussions and collaborations with CCS Bard students. The work in the exhibiiton draws from a multi-dimensional series of cues offered by the architecture, institutional memory, and discursive space of CCS Bard and presents a platform for considering collective memory in the public sphere.
Pittas acts as a conduit in the development of his large-scale graphite drawings and sculptural objects, responding to and appropriating the shifting conditions of his physical site and its surrounding socio-political energies. Traces of the Blinky Palermo: Retrospective 1964-1977, exhibition which was previously presented in the CCS Bard Galleries, are reactivated by Pittas to illuminate the artists’ shared engagement with the nonobjective work of the Russian avant-garde.
The shapes used in his work allude to picket signs and graffiti drawn from the Occupy movement, the Arab Spring, and protests in the artist’s hometown of Athens. Such evocative aesthetic and contextual shifts mirror the memes of the current global climate of protest and upheaval. Likewise, texts collected from the public domain and fragments of news stories are promoted from the quotidian to the iconic. Drawn text “Let him go, let him go,” chanted at a recent Oakland demonstration, snakes around the architecture like a paused ticker, toying with the viewer’s perception of time.
The mercurial surface of graphite in Pittas’s precisely rendered graphic and text interventions activates the concrete floor and white gallery walls of CCS Bard’s gallery space. The viewer is invited to tread on the floor drawings, dismantling the work by displacing the residue of the graphite, either as a passive or political gesture.
Antonis Pittas is an artist who creates context-specific spatial installations, which are informed by architecture, art-historical references, the performative aspects of installation art, and its social dynamics. The majority of his projects are developed over a long period of time, and always in relation to a particular site or context. Recent exhibitions include shame on you (2011) at the Annet Gelink Gallery in Amsterdam, The Spring Exhibition (2011) at the Kunsthal Charlottenborg in Copenhagen, Untitled (this is a historic opportunity for us) (2010) at the the Van Abbe Museum in Eindhoven, Every time you pass by (2009) at the SMART Project Space in Amsterdam, and Bargain prices on elephant gun (2008) at the Ileana Tounta Contemporary Art Centre in Athens. Pittas is also an instructor at the Rietveld Academy and the Sandberg Institute in Amsterdam, The Netherlands. For more information on Pittas’ work, please visit his website: http://www.antonispittas.info/
RETROACTIVE , as well as the CCS Bard residency, was made possible through the generous support of The Netherlands Foundation for Visual Arts, Design and Architecture (Fonds voor Beelende Kunsten Vormgeving En Bouwkunst).
Fonds voor Beelende Kunsten Vormgeving En Bouwkunst (Fonds BKVB) (The Netherlands Foundation for Visual Arts, Design and Architecture)
With their International Studio Program, the Fonds BKVB seeks to offer the opportunity to gain fresh or revived inspiration, to improve artists’ career prospects by linking up with international and local networks, to gain knowledge of other (urban) cultures, a “time out”, reflection on one’s own work, on one’s own career and on developments in the (international and Dutch) art world. Fonds BKVB also offers artists the ability to present their work in an international context. Exploring other cultures is becoming ever more important in a world where identity appears to be emphasized – or opposed – on the basis of the notion and interpretation of culture at various levels (national, social, individual). This is why there have been recent expansions of the offering with studios in Cairo, Curaçao, Rome, Istanbul, Surinam and Prague.
The Fonds BKVB has access to artist-in-residence places and studios in New York (ISCP), Annandale-on-Hudson (CCS Bard), Berlin (Künstlerhaus Bethanien and AiR Berlin Alexanderplatz), Paris (Atelier Holsboer), Banff (Center for the Arts, Canada), Rome (Projectstudio at the American Academy), Stockholm (IASPIS), Istanbul (PiST///), Cairo (Townhouse Gallery), Beijing (Projectstudio), Tokyo (AIT), Rio de Janeiro/Sao Paulo (Capacete), Curaçao (IBB), Belgium (WIELS), Prague (Meetfactory), and Moengo,(Tembe Art Studio, Surinam). The aim of the international studio program is to allow visual artists, designers and architects to work in one of these studios to enable them to develop and reflect upon their work in a different environment and culture. Such a residency also generates opportunities for making or extending international connections and for exploring and/or developing a new market.
About the Center for Curatorial Studies
The Center for Curatorial Studies at Bard College (CCS Bard) is an exhibition, education, and research center dedicated to the study of art and curatorial practices from the 1960s to the present day.
In addition to the CCS Bard Galleries and Hessel Museum of Art, the Center houses the Marieluise Hessel Collection, as well as an extensive library and curatorial archives that are accessible to the public. The Center’s two-year M.A. program in curatorial studies is specifically designed to deepen students’ understanding of the intellectual and practical tasks of curating contemporary art. Exhibitions are presented year-round in the CCS Bard Galleries and Hessel Museum of Art, providing students with the opportunity to work with world-renowned artists and curators. The exhibition program and the Hessel Collection also serve as the basis for a wide range of public programs and activities exploring art and its role in contemporary society.
Founded in 1990, the Center for Curatorial Studies at Bard College opened its doors in 1992. Celebrating its 20th anniverary in 2012, CCS Bard will present a series of exhibitions by students as: well as a roster of international artists working in a range of practices.
General information on the Center for Curatorial Studies at Bard College can be found on its newly relaunched website at: www.bard.edu/ccs.
For media inquires about Joe / Brains / Lamar, or CCS Bard’s 20th anniversary year, please contact:
Elizabeth Reina-Longoria or Deidre Maher
Tel: +1 (212) 675-1800
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CCS Bard Contact:
Center for Curatorial Studies
Hessel Museum of Art
Annandale-on-Hudson - NY 12504 -5000
Hours: Wednesday - Sunday, 1–5 pm