No. 2

aCCeSsions is the online journal of the Center for Curatorial Studies, Bard College, New York.

aCCeSsions takes curating as a basis for expanding and transforming the disciplinary limits of existing discourses, for engaging with knowledge and practices outside of art and exhibition-making, and for the transdisciplinary investigation of what curatorial praxis could be.

aCCeSsions commissions contributions over a biannual publication cycle. Each new issue is launched with feature pieces and provocations that explore the publication cycle’s central theme. The provocations are designed to elicit a chain reaction of responses and a wider conversation, which culminates at the end of the cycle with concluding remarks from the initial provocateur. Each issue of aCCeSsions is archived at the end of the publication cycle.

Editorial Board


Benjamin Austin, Linden Baierl, Adriana Blidaru, Christian Camacho-Light, Tim Gentles, Josephine Graf, Rosario Güiraldes, Laura Herman, Patricia M. Hernandez, Emma James, Dana Kopel, Humberto Moro, Bhavisha Panchia, Yanhan Peng, Staci Bu Shea, Alexis Wilkinson



Shehab Awad, Anna Gallagher-Ross, Pat Elifritz, Emer Grant, Lisa Long, Lynn Maliszewski, Julie Niemi


General Editor:

Paul O’Neill


Managing Editors:

Roxana Fabius

Orit Gat



Robin Mackay


Bard College

NY 12504-5000


Design by Other Means


The Overview Effect

No. 2, 2016

back on back Performance Documentation, December 11, 2015 — aCCeSsions

Katherine Hubbard, back on back Performance Documentation, December 11, 2015

In response to: Sarah Oppenheimer, William Warren, A Path of Safe Travel

In response to Sarah Oppenheimer and William Warren’s conversation A Path of Safe Travel, Katherine Hubbard’s provocation takes the form of video documentation of the performance lecture “back on back,” performed at Skowhegan, New York, on December 11, 2015. The performance and its attendant video documentation extends and complicates propositions discussed by Oppenheimer and Warren, enacting the discontinuities of spatial logic and perception, and socially and relationally constructed space, while sharpening focus on the subjective experience of the individual.


In the video document, Hubbard delivers a lecture on haunting, the nature of eventfulness within photography, and the role of the witness explored through a fictitious performance of treading water and the ways in which this proposed performance would be documented. Hubbard moves through parallel rows of bodies seated in close proximity, positioned to face one another with their knees nearly touching. The camera is focused downward for the event’s duration, capturing Hubbard’s feet and the audience’s limbs as she navigates through the temporary architecture of bodies. While Warren and Oppenheimer propose that the ground plane functions to visually orient oneself in space, Hubbard’s documentation takes up the ground plane as the primary object of focus, creating a disorienting and dizzying effect for the viewer of the video, and complicating its capacities as a perceptual anchor.


– Emma James and Alexis Wilkinson