“Contemporary art at Bard” resides in part outside the limits of the campus. A critical component of the make-up of contemporary art here is the network that reaches beyond the school. Comprised of alums, donors, artists, visiting faculty and lecturers, and others with a vested interest in the school, this network is more than just a rich resource for current students. The network existing “beyond Bard” brings resources and insights from all over the world to the school, enriching contemporary art here.
While being affected by people who come to the school, we believe that Bard has an equal impact on those in its extended network. Part of our research on the beyond Bard community involves exploring how the school has had lasting influences on this group. Dan Byers graduated from the Center for Curatorial Studies in 2008. After spending one year as a curatorial fellow at the Walker Art Center in Minneapolis, Dan took the position of Assistant Curator of Contemporary Art at Carnegie Museum of Art in Pittsburgh.
Dan, a member of the beyond Bard community, shares his thoughts below…
Q: Why did you initially select Bard? What about the CCS program, the school in general, and the arts community drew you there? What were you doing before your involvement with the school?
A: Before Bard I was Assistant to the Directors at the Fabric Workshop and Museum in Philly (a contemporary art museum and residency program). I worked very closely with artists and our production staff to realize exhibitions based on new works invited artists made in collaboration with FWM. This was an incredible opportunity for discussions about process, collaboration, and the notion of medium in contemporary art. However, it lacked a sort of “self-conscious” curatorial program beyond a commitment to supporting artists and new ways of making making work (we also engaged curators, who were, in effect, curators in residence: Mark Nash, Ellen Lupton and Abbott Miller, and Christopher Eamon, while I was there). It was this lack of an institutional curatorial position that prompted me to apply to Bard (I also realized that if I wanted to continue working with artists, as a curator, at an institution, I’d have to get a masters). I’d also had my first exposure to curating contemporary art with Ian Berry at the Tang, as a Skidmore undergrad. He was in one of the first CCS classes, so it was always something that seemed viable and legitimate. Basically, I wanted to find a place where I could have in-depth discussions about contemporary art, work with faculty I admired, meet like minded students, and generally retreat - for a time - from the pace of an institutional job (though I always wanted to return to an institution). I also was interested in Bard’s greater academic, cultural, and artistic community. Really, it seemed the only viable option for a contemporary art-focused program (despite an interest in art history, I didn’t want to study contemporary art through that approach only, which is why I didn’t apply to a program like Williams). The country/city split also appealed to me.
Q: What of Bard have you taken with you? What continues to inform and impact your work/practice today that you discovered during your time at Bard?
A: Relationships with faculty were very important. In particular, conversations, advice, and questions from Linda Norden, Michael Brenson, and Rhea Anastas have stayed with me. Tom’s attitude towards negotiating the seeming obstacles of projects was also important. I made some very close friends who are now colleagues who I go to for advice and conversation. Memories of the Hudson Valley - the estates along the river, the hard cider from the produce stand, drives by deer at night… all that is still with me. I was also exposed to a very specific notion of critically, which, for better or worse, is always in the back of my mind - some times more present than others. I also read and thought so much about contemporary art. I know so much more art history. I also know which parts of the art world I want to ignore, verses those I want to engage. Bard prepared me for my curatorial fellowship at the Walker, both intellectually, and in terms of knowledge about the systems of the art world. (On the other hand, the Walker helped me understand my Bard experience better, in relationship to institutional practice). Those contacts, discourses, and general knowledge base from CCS have also resonated with my work at the Carnegie. CCS presents an intellectual standard, which is only appropriate to varying degrees in different institutional contexts. But it was a program that I was able to get a lot out of (and also drove me crazy at times!).
Q: Have you utilized the Bard network since leaving the school?
A: Yes. In my experience, CCS alums are happy to meet and talk with only the CCS connection as entry. And Letitia is the best press release service around (not to mention kindest person around). Those who have gone through CCS know, and have generally been helpful with advice and things like that. Though I’m more dependent on my peers from the program than on those who graduated before me.
Q: Any websites that particularly light your fire?
A: Just the usual suspects. Honestly, I don’t use the internet for anything too cutting edge. I’d rather read a good magazine.
[posted by Karin Campbell]
