Feminist Art Workers
Sacred Naked Nature Girls
Nicole J. Caruth
'Against Our' will explores the aesthetic representation of violence against women. 'Between Pass and Fail' explores miscegenation and the construction of race in works by Nayland Blake, Adrian Piper, and Kara Walker. The monographic presentation of the work of Marine Hugonnier explores how landscape constructs history and how ideology constructs place. In 'Over Sight', Spencer Finch, Roni Horn, and Kerry Tribe challenge our assumptions of what we can and cannot see. While the slide projection has been widely used for the reproduction of artwork, there is also a rich history of its use in the creation of artwork.
ANNANDALE-ON-HUDSON, N.Y.-The Center for Curatorial Studies (CCS) will presents 12 exhibitions this spring, curated by students in its graduate program in curatorial studies and contemporary art. The exhibitions are the culmination of the students' work for the master's degree.
Five of the exhibitions-Against Our Will, Between Pass and Fail, Marine
Hugonnier, Over Sight, and Seeing Double-will be presented in the Center's
Against Our Will explores the aesthetic representation of violence against women. This selective history traces feminist investigations of domestic and sexual violence through video and photo documentation of performance from the early 1970s through the present. Artists in the exhibition include Beth B., Judy Chicago, Feminist Art Workers, Miranda July, Leslie Labowitz, Suzanne Lacy, Ana Mendieta, Sandra Orgel, Aviva Rahmani, Sacred Naked Nature
Girls, and Teresa Serrano.
Curator: Erin Salazar
Between Pass and Fail explores miscegenation and the construction of race in works by Nayland Blake, Adrian Piper, and Kara Walker. The term miscegenation-defined as a mixing of races, especially between blacks and whites-evokes histories of rape and domination, taboo, and notions of "contamination" or "pure races." Through diverse media and personal narrative, the artists reveal the visual, social, and psychological complexities of miscegenation.
Curator: Nicole J. Caruth
The first monographic presentation in the United States of the work of French-born, London-based artist Marine Hugonnier explores how landscape constructs history and how ideology constructs place. Each of the four films investigates the limitations of medium of cinema. Since the mid '90s Hugonnier has shown in Paris, London, Berlin, Zurich, Rome, and Amsterdam. Recently she has exhibited monographs at the Yokohoma Arts Foundation in Japan, Dundee Contemporary Arts in Scotland, Centro Galego de Arte
Contemporanea in Spain, and Kunstmuseum Lucern, Switzerland. Her work was included in the 2001 Site Santa Fe Biennial exhibition Beau Monde: Towards a Redeemed Cosmopolitan and the 2003 Venice Biennial Exhibition Utopia Station.
Curator: Risa Puleo
In Over Sight, Spencer Finch, Roni Horn, and Kerry Tribe challenge our assumptions of what we can and cannot see. Weaving image with language, each alludes to a hidden presence. Footnotes annotate photographs of water to
hint at what lurks below, a haiku inspires watercolors that reveal the gaps in our perception, and voiced questions haunt videos of landscapes with conjectures on the past and future. Suggesting blind spots and uncertainty in our sight and memory, their works bring us to the threshold between a
visible surface and the unknown beyond.
Curator: Jen Mergel
While the slide projection has been widely used for the reproduction of artwork, there is also a rich history of its use in the creation of artwork. Seeing Double brings together light and slide projections by Giovanni Anselmo, IÃ±aki Bonillas, Ceal Floyer, Sherrie Levine, Michael Snow, and James Turrell that question what and how we see. These works shift between illusion and documentation, representation and abstraction, presence and absence according to how the viewer chooses to "see" the work.
Curator: Jenny Moore
Performance: The Trachtenburg Family Slideshow Players
Opening Celebration of Seeing Double featuring The Trachtenburg Family
Slideshow Players, an indie-vaudeville conceptual art-rock band that composes pop-rock musical exposÃ©s based on the contents of slide collections found at estate sales, garage sales, and thrift stores. The New Yorker has crowned the Slideshow Players "arguably the best-known local act of the
millennium." Multipurpose room, Bertelsmann Campus Center, 4:00 p.m.
Image: Adrian Piper, Everything #2/4 (2003) 8 1/2 x 11". Graph paper photocopied photograph, sandpaper, inkjet print
Opening reception: Sunday, March 6, 1:00-4:00 p.m.
Center for Curatorial Studies, Bard College, Annandale-on-Hudson, N.Y.
Gallery hours: Wednesday through Sunday, 1:00-5:00 p.m.