• Julie Ault and Martin Beck, Display System (detail), 2001, one of six neon signs. Installation view, MAK, Vienna.

    “The Greenroom: Reconsidering the Documentary and Contemporary Art (Part 1)”

    CCS Bard Hessel Museum
    Bard College Campus
    September 27, 2008–February 1, 2009

    It should hardly surprise that generations bred on reality television, YouTube, and the films of Christopher Guest would find agency in the contested genre of “the documentary.” Highlighting its perceived vogue in recent artmaking, curator Maria Lind has gathered more than forty artists—including such increasingly familiar names as Michael Rakowitz, Hito Steyerl, and Omer Fast—to investigate some of the more perplexing questions raised by the form: Who narrates history? What constitutes the real? And how did a television show called Big Brother ever become a model for participatory democracy? CCS describes “The Greenroom” as the “inaugural event” for a “long-term research project.” Offering lectures, screenings, seminars, performances, and panel discussions—all the trappings of discourse—the effort will culminate in a second installment slated to open in the fall of 2010.