About
Upcoming Exhibitions
BGC Gallery will resume its exhibition programming this September with the return of Sèvres Extraordinaire! Sculpture from 1740 until Today, originally slated for fall 2024.
Bard Graduate Center is an advanced graduate research institute in New York City dedicated to the cultural histories of the material world. Our MA and PhD degree programs, Gallery exhibitions, research initiatives, scholarly publications and public programs explore new ways of thinking about decorative arts, design history, and material culture.

About
28th Annual Iris Foundation Awards
Honoring Irene Roosevelt Aitken, Dr. Julius Bryant, Dr. Meredith Martin, and Katherine Purcell
Events
Wednesdays @ BGC
Join us this spring for weekly programming!





About

Bard Graduate Center is devoted to the study of decorative arts, design history, and material culture through research, advanced degrees, exhibitions, publications, and events.


Bard Graduate Center advances the study of decorative arts, design history, and material culture through its object-centered approach to teaching, research, exhibitions, publications, and events.

At BGC, we study the human past and present through their material expressions. We focus on objects and other material forms—from those valued for their aesthetic elements to the ordinary things used in everyday life.

Our accomplished interdisciplinary faculty inspires and prepares students in our MA and PhD programs for successful careers in academia, museums, and the private sector. We bring equal intellectual rigor to our acclaimed exhibitions, award-winning catalogues and scholarly publications, and innovative public programs, and we view all of these integrated elements as vital to our curriculum.

BGC’s campus comprises a state-of-the-art academic programs building at 38 West 86th Street, a gallery at 18 West 86th Street, and a residence hall at 410 West 58th Street. A new collection study center will open at 8 West 86th Street in 2026.

Founded by Dr. Susan Weber in 1993, Bard Graduate Center has become the preeminent institute for academic research and exhibition of decorative arts, design history, and material culture. BGC is an accredited unit of Bard College and a member of the Association of Research Institutes in Art History (ARIAH).




Laura J. Allen (MA 2020) is an interdisciplinary curator, scholar, and writer. She was appointed Curator of Native American Art at Montclair Art Museum (MAM) in Montclair, New Jersey in March 2021. From 2017–2018, she served as the Curatorial Associate in the Division of Anthropology at the American Museum of Natural History (AMNH) for its ongoing Northwest Coast Hall renovation. As a museum professional, she has developed and edited numerous exhibition, media, and educational projects for AMNH and has consulted on interpretation and community engagement for several other organizations, including the University of Alaska Museum of the North in Fairbanks.

What attracted you to the BGC’s program?

Four aspects of BGC drew me in particular: its interdisciplinary approach, its rigor, and its opportunities to study curatorial practice and cross-cultural topics. I have a diverse background in the natural sciences, fashion design, and editorial production. I had been working in museums for a long time before applying for my Master’s, and was increasingly turning to curatorship. BGC was one of the few graduate programs where I felt I could merge my range of intellectual and practical goals, and all in New York City, where I have lived for more than a decade.

What was your focus of study here, how did you find yourself involved with it?

My focus was Indigenous and intercultural material culture and design of the Americas, especially dress and textiles. In the years before I began at BGC in 2017, I had increasingly been offered museum opportunities to cover the Pacific Northwest and Alaska. I became very invested in working with people and collections from this area. Studying with Aaron Glass and other professors (at BGC and Columbia University) enabled me to deepen my focus while also broadening my knowledge: I studied cultural, material, and art histories of the Americas, global exchange, the anthropology of art, museology and curatorial practice, and art/science intersections. Given my interest in garments, I also took several dress history courses with Michele Majer. My graduate internships and my qualifying project, an exhibition proposal entitled Fashioning the Northwest Coast: 200 Years of Indigenous Dress, bridged my passions.

Describe your position and how you came to it. What sort of projects are you working on?

After graduating, my objective was to work as a curator at a New York-area museum with a strong collection of Native-made work and progressive goals for community engagement and museological practice. I was delighted to learn that the Montclair Art Museum had recently established a Native American art advisory council with leaders in the field. I am researching and caring for an outstanding collection of more than 4,000 historical and contemporary works from Native North America. I am working to expand access for Native people, center their perspectives, and build reciprocal relationships. For September 2021, I am organizing the installation of Color Riot!, an exhibition of innovative Navajo weaving from the Heard Museum. Then, in a collaborative fashion, I will facilitate a site-specific artistic intervention and the reinstallation of MAM’s Native American art gallery, among other responsibilities.

How has your experience at BGC helped your career?
I recall Dean Peter Miller telling my entering class that we would leave the program creating the sort of research that we were only then reading. We would design and steer our own intellectual practice. The high quality of BGC’s training, mentorship, research support, and network did just that—my diverse background and museum experience alone could only go so far. The practical opportunities in exhibition development during my BGC years further solidified my preparedness to creatively curate. I could not have imagined a better segue to my current position, and I am grateful for both.