The Conditions of Being Art

with Julia Scher
June 23 – December 14, 2018

Far right: 
Julia Scher

Hidden Camera / Architectural Vagina, 1991
JVC camcorder, bracket, organic fronds
Dimensions variable

 

Exhibition view: The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983-2004), with Julia Scher, Hessel Museum of Art, Bard College, Annandale-on-Hudson, 2018

 

Photo © Chris Kendall

Far left:
Julia Scher

Hidden Camera / Architectural Vagina, 1991
JVC camcorder, bracket, organic fronds
Dimensions variable

 

Exhibition view: The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983-2004), with Julia Scher, Hessel Museum of Art, Bard College, Annandale-on-Hudson, 2018

 

Photo © Chris Kendall

Far left: 
Julia Scher

Hidden Camera / Architectural Vagina, 1991
JVC camcorder, bracket, organic fronds
Dimensions variable

 

Exhibition view: The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983-2004), with Julia Scher, Hessel Museum of Art, Bard College, Annandale-on-Hudson, 2018

 

Photo © Chris Kendall

The Conditions of Being Art

with Julia Scher
Hessel Museum of Art, Bard College, Annandale-on-Hudson
June 23 – December 14, 2018
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The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983-2004) will be the first exhibition in the United States to examine the shared histories, art, and programming activities of Pat Hearn Gallery (PHG) and American Fine Arts, Co., Colin de Land Fine Art. (AFA), whose archives are held at CCS Bard, and which have been the focus of an ongoing research program within the curatorial graduate program, that has included three semester-long courses on the histories of both galleries and involved visits from artists, friends and colleagues of Pat Hearn and Colin de Land. The exhibition will be held from June 23 – December 14, 2018 and includes works of art shown at or associated with these galleries by over 40 artists. The exhibition draws upon the archives of each gallery to illuminate their distinctive curatorial practices, significant exhibitions, daily business activities, social worlds, and relationships of artists to art dealers and gallery founders Pat Hearn (1955-2000) and Colin de Land (1955-2003).

 

The exhibition begins with the opening of the Pat Hearn Gallery in 1983 and concludes with the closure of American Fine Arts, Co. in 2004. The galleries began independently of one another in 1983 and 1986 respectively, and are often discussed and historicized separately. While initially acclaimed for her support of transformations in painting in the 1980s, Hearn was also known for her commitment to queer, feminist politics, and AIDS activism, and valued by artists as a dealer who was an enthusiastic participant and collaborator in their work. Hearn subsequently supported work in video, computing, and practices engaging both exhibition and performing arts contexts, creating new ways of understanding artists’ work. De Land was recognized as both a dealer and an artist working under such collaborative pseudonyms as John Dogg and J. St. Bernard. His gallery simultaneously afforded an experimental space for presenting ideas as well as providing a social venue for artists, writers, collectors to interact and debate, his openness coupled with a critical approach, questioning the grounds on which taste, value, and judgment materialize.

 

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