September 29–October 1, 2017, in Asheville, North Carolina

Mark your calendars now for BMCM+AC’s annual ReVIEWING Black Mountain College in partnership with University of North Carolina Asheville. ReVIEWING Black Mountain College 9 will feature over 60 interdisciplinary presenters from across the United States as well as Lithuania, Russia, and Canada. Topics addressed will include the artistic practices of BMC artists Josef and Anni Albers, Ruth Asawa, Ray Johnson, Merce Cunningham, and John Cage as well as the poetics of Charles Olson, Robert Creeley, Hilda Morley, and John Weiners. 

The conference will feature two keynote addresses: one by conceptual artist Mel Chin, on Friday, September 29, and another with the creative team of Black Mountain Songs on Saturday, September 30. 

The three-day program includes a full schedule of speakers, panels, workshops, and performances and is open to the public. Most conference activities will take place on the UNC Asheville campus at the Reuter Center.

Advance tickets are $40 for current BMCM+AC and OLLI members, $75 for non-members (BMCM+AC annual membership included). This price will increase to $100 for non-members at the door on 9/29, so online pre-registration is highly encouraged (ends at 5 pm on 9/28). Optional discounted tickets to Black Mountain Songs, with performances 9/29 + 9/30, are available to conference attendees for $10, along with an optional tour of the BMC Lake Eden Campus on 10/1 for $15. Both add-ons can be purchased with conference admission at reviewing.brownpapertickets.com.

For much more about ReVIEWING BMC 9VISIT OUR BLOG.

Early Registration

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Participant Bios + Abstracts

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Past Conferences

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Schedule

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Notice about Yom Kippur and ReVIEWING BMC
The organizers of ReViewing BMC 9 would like to offer an apology for scheduling our 2017 conference during Yom Kippur and an acknowledgment and support of an exceedingly important, indeed central, aspect of the Black Mountain College tradition. Refugees from Nazi persecution made the College the amazing cultural institution that it was. We would be troubled and apologetic about our oversight in any situation. But in light of the recent events in Charlottesville, and the President’s response we believe it even more important to offer a sincere and emphatic apology for the scheduling. We would certainly never want to appear unsupportive, insensitive or even passive in our unequivocal denunciation of anti-Semitic rhetoric or activities. We believe that art and discourse is a powerful agent of change and that the hundreds of artists and scholars interested in the history of BMC will use the time at the conference to reflect, share and discuss the current state of things.

Conference News

Thematic focus: Process + Performance

New initiatives: In conjunction with this year’s conference, we’re thrilled to launch two new efforts: 

  • The ACTIVE ARCHIVE is a stream of programs that pairs BMCM+AC’s extensive collection with contemporary artists, curators, and cultural thinkers. It launches over ReVIEWING weekend with an exhibition featuring our permanent collection of works by BMC alumni curated by interdisciplinary artist Martha McDonald.
    • For ACTIVE ARCHIVE: Martha McDonald, this interdisciplinary artist brings the ideas of Black Mountain College alive through an exhibition of artwork and ephemera from BMCM+AC’s collection and a live performance drawing on the rich history of experimental performance at BMC.  The exhibition, across both galleries, focuses on the importance of process and material exploration at BMC. It includes student color studies from Josef Alber’s influential Werklehre courses; paintings, sculptures, textiles and ceramics by BMC faculty and students reflecting this legacy of material and color study; and a selection of idiosyncratic, hand-printed programs highlighting the history of collaborative performance at BMC. 

      McDonald’s performance will activate her installation of objects and costumes drawn from Xanti Schawinsky’s 1936 experimental theater piece, Spectodrama, which formed the basis of his Stage Studies course at BMC. McDonald’s piece features music inspired by John Evarts’ collaborations with Schawinsky at BMC from 1936-38.

  • The BMCM+AC Performance Initiative is a multi-part project that offers new dimensions to our visual art exhibitions. It launches during ReVIEWING with the southeast premiere of Black Mountain Songs, an interdisciplinary collaboration inspired by BMC, performed by the Brooklyn Youth Chorus and curated by Bryce Dessner and Richard Reed Parry.

Our Sponsors

Thanks to the Andrew W. Mellon Foundation, Henry Luce Foundation, Windgate Charitable Foundation, North Carolina Arts Council, UNC Asheville Howerton Distinguished Professor in the Humanities, UNC Asheville Office of the Provost, Osher Center for Lifelong Learning