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
Events
Wednesdays @ BGC
Join us this spring for weekly programming!





Research

Bard Graduate Center is a research institute for advanced, interdisciplinary study of diverse material worlds. We support the innovative scholarship of our faculty and students as well as resident fellows, guest curators and artists, and visiting speakers.

Photo by Fresco Arts Team.

Our Public Humanities + Research department focuses on making scholarly work widely available and accessible through the coordination of the fellowship program and public programming that combines academic research with exhibition-related events. Across the institution—from the classroom to the gallery, from publications to this website—we utilize digital media to facilitate and share original research. This section outlines current programming and provides a repository for past scholarly content.

William Stenhouse spoke at the Seminar in Cultural History on Wednesday, February 12, 2014. His talk was entitled “Conserving Relics of the Classical Past: Civic Bodies and the Preservation of Antiquities in the Renaissance.”

Stenhouse’s talk at the BGC examined the emergence of civic collections of antiquities in the early modern period. He argued that these collections on the Italian peninsula and in southern France have been overlooked in favor of the famous princely collections from the period, but offer important early evidence for communal commitment to the protection of the past. They build on medieval traditions of collection and display, but also reflect new humanist interest in classical antiquity and its preservation. Additionally, Stenhouse briefly addressed the question of how the creators of these collections talked about preservation and conservation.


William Stenhouse is Associate Professor of History at Yeshiva University in New York City. He received his BA in Classics from University of Oxford, his MA from the Warburg Institute, University of London, and his PhD from University College London. He has published extensively on antiquarianism and the Renaissance. His recent article-length publications include “Visualizing the Roman Triumph: Descriptio and the Antiquarian Imagination,” Papers of the British School at Rome 80 (2012): 233-256; “Epigraphy and Technology: The Impact of the Printing Press,” in Latin on Stone: Epigraphic Research and Electronic Archives, Francisca Feraudi-Gruénais, ed. (Lanham: Lexington Books, 2010), pp. 23-44; and “Antiquarians and the Preservation of Antiquity Collections,” in Collecting and Dynastic Ambition, Susan Bracken, Andrea M. Gáldy, and Adriana Turpin, eds. (Newcastle: Cambridge Scholars Publishing, 2009), pp. 23-36. His book-length publications include Reading Inscriptions and Writing Ancient History: Historical Scholarship in the Late Renaissance (London: Institute of Classical Studies, University of London, 2005) and The Paper Museum of Cassiano dal Pozzo. Catalogue raisonné, Volume A.VII: Ancient Inscriptions (London: Harvey Miller/The Royal Collection Trust, 2002).