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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, June 28, 1909
From a glass plate
Image 45991, American Museum of Natural History Library


In 1909, Harlan I. Smith returned to the coast to resume the archaeological reconnaissance that he had begun during the Jesup Expedition. He and an accompanying painter, Will Taylor, also sought visual inspiration for murals, still on display in the AMNH Northwest Coast Hall. For both reasons, Smith took a number of photographs of Native men and women undertaking practices that he termed “primitive industries,” including this one of a Nuuchah-nulth woman weaving a basketry hat near Victoria (in Coast Salish territory). Smith then collected the unfinished hat—not as a souvenir but as an ethnological specimen of the well-developed weaving industry, hoping to dispel misconceptions of Native Americans as ignorant and lazy. His notes on this image call attention to the intercultural exchanges characteristic of the preceding decades, such as the presence of imported commodities (the Japanese mat on which the weaver sits) and the seasonal migration of Natives to take advantage of wage labor. This approach differs from that of the earlier Jesup Expedition, which deemed only “nonacculturated” Native objects and practices as worthy of anthropological study and collection.


Click here for a discussion about this object (Ron Hamilton)

Tags for Interactive Tag Cloud: diffusion, models, souvenir