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





Exhibitions

Tickets

Join us for Wednesdays@BGC!

More

Gallery Hours

BGC Gallery reopens this September with the return of Sèvres Extraordinaire: Sculpture from 1740 until Today, originally slated for fall 2024.

More

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, Chilkat Tlingit
Stone, calico, hair, paint
Collected by George T. Emmons in 1869
American Museum of Natural History 19/246

This doll was likely a plaything for a young Tlingit girl. Like many other possessions on the coast, dolls were passed down according to strict hereditary rules. Traces of red paint decorate its carved stone face, and its dress is fashioned from expertly stitched calico, which had been available since the late eighteenth century. The relative coarseness of the fabric suggests that it was produced for the lower end of the market, but the three-dot motif was popular on many forms of calico around the time of collection. Most Natives of the region had adopted Western dress for daily wear by the end of the nineteenth century, although regalia would have been worn at ceremonies and official functions. Some dolls from the period feature buckskin clothes, which implies that clothing styles were hybrid at the time and that at least some dolls were made for the burgeoning tourist trade to represent either “traditional” or “modern” Indians. Sartorial culture was not static; dolls such as this one indicate that the Tlingit exercised choice regarding which aspects of the colonial culture to adopt and to pass to their children.


Tags for Interactive Tag Cloud: indigenization, models, souvenir