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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.

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28th Annual Iris Foundation Awards
Honoring Irene Roosevelt Aitken, Dr. Julius Bryant, Dr. Meredith Martin, and Katherine Purcell
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BGC Gallery reopens this September with the return of Sèvres Extraordinaire: Sculpture from 1740 until Today, originally slated for fall 2024.

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The Bard Graduate Center Gallery produces multiple exhibitions and publications each year, serving as a vital center of learning and a catalyst for engagement in the interrelated disciplines of decorative arts, design, and material culture. The gallery is celebrated in the museum world for its longstanding legacy of landmark projects dedicated to significant—yet often understudied—figures and movements in the history of decorative arts and design; these exhibitions and publications typically represent the definitive intervention on the artists and objects they investigate. BGC Gallery is also committed to generating and supporting a vast range of diverse presentations, small and large, that challenge traditional approaches to object inquiry; these examinations of material culture explore the human experience as manifest in our creation and use of “things” of all kinds. Whether originating in internal research and expertise, or in collaboration with external subject specialists, these endeavors prioritize rigorous scholarship while seeking to adhere to the field’s highest standards in production and design.




Unknown maker, Tlingit
Fulled wool, wool twill, cotton, glass beads, wool yarn, thread
Donated by Michael Lerner in 1969
American Museum of Natural History 50.2/6650

Beaded pouches, known as “octopus bags” (naakw gwéil) due to their eight tabs, have been important objects among the Tlingit since the late nineteenth century. They incorporate trade materials, such as glass seed beads and cotton or wool cloth, and are based upon a style that originated among the Red River Métis people in Manitoba; in fact, this bag was originally misidentified as a “woodlands” object. Tlingit octopus bags were not used as pouches but rather as regalia in Native ritual. While some beadwork displayed familiar crest imagery, most bags maintained more abstracted foliate or floral designs that would not have been recognized by non-Natives as ceremonial. This repurposing of bags as regalia may also have been based upon a visual analogy between their distinct form and the processional banners of the Russian Orthodox Church. Tlingit nobility displayed the bags to compete for status during this time of upheaval, showing their penchant for adapting foreign expressions of wealth and power as at.óow or “chiefly treasure.”

Altar in St. Michael Cathedral, Sitka, Alaska. Note the tabbed form of the Russian Orthodox processional banner to the right of the altar. Photograph by Elbridge.W. Merrill, ca. 1880s. Alaska State Library, Michael Z. Vinokouroff Photograph Collection, P243-1-033.

Click here for a discussion about this object (Marianne Nicolson)

Tags for Interactive Tag Cloud: Christianity, diffusion, hybridity, indigenization, misidentification, non-canonical, repurposing