Extra Credit opportunities

NYC Dreamlands Shuttle

Saturday, November 12, 2016

Meet at Kline Commons Bus Stop at 8:30 am; returns at 7 pm (leaves NYC 5pm)


Hito Steyerl’s “Factory of the Sun” (2015), in which viewers sit on lounge chairs in a gridded space to watch a video game parody. Credit Courtesy of the artist and Andrew Kreps Gallery, New York; Photograph by Sarah Wilmer

Students are invited to join Experimental Humanities for a day trip to the Whitney Museum of American Art to visit the recently-opened exhibition “Dreamlands: Immersive Cinema and Art, 1905–2016.” The exhibition “focuses on the ways in which artists have dismantled and reassembled the conventions of cinema—screen, projection, darkness—to create new experiences of the moving image.” The visit to the museum will be followed by an optional afternoon tour of fall art gallery shows in the Chelsea art district of Manhattan. Coverage of the show in the New York Times here.

Cost: $20 (round-trip transportation) plus museum admission

Chelsea art galleries are free to visit

Spaces are limited! Contact Gretta Tritch Roman (gtritchr@bard.edu) to reserve a spot.

More information here.



Experimental Humanities Fall Mellon Lecture with Jill Magid

Locating Loopholes: Exploring Rules of Engagement

Monday, November 14, 2016

6:00 pm, RKC 103


Jill Magid, System Azure Security Ornamentation. Performances at Amsterdam Police Headquarters, rhinestone covered surveillance cameras. 2002.

American artist Jill Magid’s work is deeply ingrained in her lived experience, exploring and blurring the boundaries between art and life. Through her performance-based practice, Magid has initiated intimate relations with a number of organizations and structures of authority. She explores the emotional, philosophical and legal tensions between the individual and ‘protective’ institutions, such as intelligence agencies or the police. To work alongside or within large organizations, Magid makes use of institutional quirks, systemic loopholes that allow her to make contact with people ‘on the inside’. Her work tends to be characterized by the dynamics of seduction, the resulting narratives often taking the form of a love story. It is typical of Magid’s practice that she follows the rules of engagement with an institution to the letter – sometimes to the point of absurdity.

Her work was most recently featured in The New Yorker, in the piece “The Architect Who Became a Diamond” by Bard College alumna Alice Gregory.

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