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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
Wood, abalone shell, brass, copper
Collected by George T. Emmons in 1894
American Museum of Natural History E/1013

Tlingit peoples first encountered tobacco pipes (s’eik daakeit) among Russian traders and soon began to produce similar ones for their own cultural practices as well as for sale to sailors. In contrast to trade pipes, ceremonial versions were often decorated with highly prized materials that marked their prestigious chiefly use. This pipe’s abalone shell inlays, which were likely recycled from regalia ornaments, support its ritual provenance as reported by Emmons. Intercultural transactions are evident in the pipe’s motifs. The scrollwork and rosettes, commonly found on Native objects of the period, were derived from Euro-American vessels. Furthermore, a keel-like appendage runs along its bottom, its mouthpiece is angled back like many boat sterns, it features a ship prow’s spiral billet head, and the chimneylike shape of its bowl is reminiscent of a smokestack. This pipe might even represent a specific Hudson’s Bay Company steamship, the SS Beaver, which played a vital role in mid-nineteenth-century commercial trade and thus the expansion of Native wealth.


Tags for Interactive Tag Cloud: Hudson’s Bay Company, indigenization, repurposing, ship imagery