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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.




Photograph by Harlan I. Smith, August 26, 1909
From a glass plate
Image 46168, American Museum of Natural History Library


The enclosures and marble monuments bearing crest imagery that dominate this view of the Tlingit graveyard at Klukwan had recently replaced previous wooden grave houses, one of which remains on the right. Shifts in Tlingit mortuary rites resulted from the increasing conversion efforts of Christian missionaries, yet this cemetery landscape reflects the maintenance of Native social values despite accommodation to Euro-American aesthetics and funerary practices. Harlan I. Smith noted that Tlingit families often hired non-Native artisans to produce headstones based on detailed instructions as to the specific hereditary iconography, thereby inverting the typical colonial relations of wage labor. The wooden Frog House grave marker seen here was erected by a relatively new clan in order to consolidate their status among well-established rivals; it too was soon replaced with a marble monument that more permanently enshrined their claims. Burial practices thus became a contested—and highly creative—means for managing both the colonial encounter and intracultural dynamics of memory and power.


Click here for a discussion about this object (Lyle Wilson)

Tags for Interactive Tag Cloud: Christianity, indigenization, mortuary, repurposing