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).


The third in a series featuring a Bard Graduate Center course. This month the focus is on:

Approaches to the Object

During fall semester 2015, Associate Professor Aaron Glass and Professor Jeffrey Collins led “Approaches to the Object,” one of three core courses required of all incoming MA students and PhD students matriculating from other institutions. Inaugurated in 2013 as a complement to the two-term historical survey of decorative arts, design history, and material culture, “Approaches” reflects the Bard Graduate Center’s multidisciplinary nature by introducing students with diverse backgrounds to the puzzles and possibilities of object-based scholarship across a broad variety of disciplines. Drawing on the varied expertise of Bard Graduate Center faculty and guest lecturers, the course highlights analytic methods and techniques from history, art history, archaeology, anthropology, dress history, the history of collecting and display, and object conservation. By investigating the taxonomic categories and associated institutions that drive the construction of knowledge about things, it reveals the intellectual scaffolding behind the terms and fields of “decorative arts,” “design history,” and “material culture,” and equips students to make informed and viable choices in the use of objects as scholarly evidence.

To help students put these diverse approaches into action, instructors brought objects to the classroom for examination and discussion each week. In addition, four term projects provided experience working with different kinds of evidence and methods of study. The first explored the textual traces left by objects through an analysis of seventeenth- and eighteenth-century probate inventories from Deerfield, Massachusetts—highlighting the challenges not just of paleography but of reconstructing and interpreting lost material worlds through written records. The second focused on objects’ intrinsic or material properties, adopting techniques of artifact study as proposed by Jules Prown. Here the challenge was to scrutinize and deduce with fresh eyes, forgetting what one thinks one knows and “reading” the object from the inside out. The third project traced objects’ cultural biographies, asking students to follow the movements and changing meanings and values of a familiar thing—a family keepsake, for instance—for the specific people who have owned and used it. In the fourth assignment, student teams applied the three prior approaches to objects on display at the Met—an Egyptian canopic jar, a Fang reliquary figure, and a tea urn designed by Eliel Saarinen—to explore how a combination of analytic perspectives yields a richer picture of objects as evidence of human history and culture.

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Medium: Travertine (Egyptian alabaster), blue glass, obsidian, unidentified stone Accession Number: 30.8.54 The Metropolitan Museum of Art


Students work with study objects in BGC 502: Approaches to the Object