At Bard Graduate Center, we study the cultural history of the material world. Our scope is global and ranges from distant antiquity to the present. For more than 25 years, our interdisciplinary, object-based approach to learning has been training future curators, researchers, educators, and museum and arts professionals to ask new questions about our shared history. Founded in 1993 on the idea that decoration is a human universal that can be found in all times and at all places, BGC’s initial focus on the history of design and decorative arts has expanded to include the crucial perspectives of anthropologists, archaeologists, cultural historians, and conservators. Today, Bard Graduate Center is the leading American graduate institute for interdisciplinary, object-centered inquiry into material culture.
We welcome you to visit us! This fall we will offer three open houses:
These events will give you the chance to meet our faculty and students.
To reserve your spot and learn more, visit bgc.bard.edu/admissions.
If you can’t make one of the open houses, or if you have any other questions, please email firstname.lastname@example.org for more information. We’re here to help.
Applications for Fall 2022 admission to the MA & PhD program are due January 7, 2022. For application information, visit bgc.bard.edu.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.