News

The Fisher Center at Bard, long known for its memorable productions of rarely performed operatic works programmed and conducted by Maestro Leon Botstein, commemorates World Opera Day on October 25 with two special releases, adding to an already robust selection of archival HD opera recordings and contextual materials available free of charge on UPSTREAMING, the Fisher Center’s virtual stage.

World Opera Day is an international campaign to raise awareness of the positive impact and value of opera for society. As part of World Opera Day, the Fisher Center will present a lively and wide-ranging virtual conversation about opera today between Maestro Botstein and the acclaimed mezzo-soprano Stephanie Blythe, who recently assumed the directorship of the Vocal Arts Program at Bard College. Their conversation will be available for streaming here, beginning October 25. Bard Music Festival members will receive early access to the conversation on October 20.

“Opera is immune to technological reproduction and is a unique amalgam of the visual language and sound,” says Botstein. “It is perhaps the most resilient, alluring, and enduring genre of the human imagination.”

Offering one of the most unique opera programs in the country, Bard presents a new, fully staged production of a rarely performed opera each year as part of the renowned SummerScape Festival. The operas are programmed in conjunction with Bard Music Festival, a summer series led by Botstein, which focuses on one composer each summer for an intensive series of concerts, lectures, and panel discussions. “Some of the most important summer opera experiences in the U.S. are … at Bard SummerScape.” —Financial Times

Since the start of the COVID-19 pandemic, the Fisher Center has been streaming selections from its rich archive of HD video recordings over UPSTREAMING, the Fisher Center’s Virtual Stage. On October 19, Bard SummerScape’s 2016 production of Pietro Mascagni’s Iris joins a robust selection of Bard SummerScape productions of rarely-performed operatic treasures available for viewing. Operas produced in recent years at Bard SummerScape (all currently streaming on UPSTREAMING) include the U.S. premieres of such neglected treasures as Erich Wolfgang Korngold’s Das Wunder der Heliane (2019); Richard Strauss’s Die Liebe der Danae (2012); Carl Maria von Weber’s Euryanthe (2014) and Dame Ethel Smyth’s The Wreckers (2015). These perfromances have been made available at no charge to ensure wider access to these rarely seen works. All of these programs can be viewed here.

About UPSTREAMING, the Fisher Center’s virtual stage. Archival Discoveries and New Commissions for the Digital Sphere.
UPSTREAMING broadens the Fisher Center’s commitment to reaching audiences far beyond the physical walls of our building, and offers new ways for us to engage with artists. Launched in April 2020, UPSTREAMING has released new content, including digital commissions, virtual events, and beloved performances and rich contextual materials from the archives of the SummerScape Opera and Bard Music Festival’s 30-year history. UPSTREAMING highlights different aspects of the breadth of programming the Fisher Center offers. New releases are announced via the Fisher Center’s weekly newsletter. To receive those updates and stay connected to UPSTREAMING, join the mailing list here.
#UPSTREAMINGFC

ABOUT THE FISHER CENTER
The Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas, offering perspectives from the past and present, as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. Building on a 159-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders.(10.19.20)
 
https://fishercenter.bard.edu/upstreaming/

Bard College announces the appointment of award-winning pianist and composer Marcus Roberts as Distinguished Visiting Professor of Music for the 2020–21 academic year. A highly acclaimed modern jazz pianist, composer, and educator, Roberts is known throughout the world for his development of an entirely new approach to jazz trio performance as well as for his remarkable ability to blend the jazz and classical idioms. Hailed as “the genius of modern piano,” Roberts’s life and career were featured by the CBS news magazine 60 Minutes in a 2014 episode, “The Virtuoso,” in which he was interviewed by Wynton Marsalis. In addition to his renown as a performer and composer, Roberts is the founder of The Modern Jazz Generation, a multigenerational ensemble that is the realization of his long-standing dedication to training and mentoring younger jazz musicians. Roberts will teach a series of master classes to Bard music students this fall and spring.

Pianist/composer Marcus Roberts has been hailed “the genius of the modern piano”. His life and career have been featured on an episode of the CBS News television show, 60 Minutes, called “The Virtuoso.” The show traced his life from his early roots in Jacksonville and at the Florida School for the Deaf and Blind to his remarkable career as a modern jazz pianist, composer, and educator. Roberts grew up in Jacksonville, FL where his mother's gospel singing and the music of the local church left a lasting impact on his own musical style. While he began playing piano at age five after losing his sight, he did not have his first formal lesson until age 12. Despite that late start, he progressed quickly and at age 18, went on to study classical piano at Florida State University with the great Leonidas Lipovetsky. Roberts has won numerous awards and competitions over the years, but the one that is most personally meaningful to him is the Helen Keller Award for Personal Achievement.

Roberts is known throughout the world for his development of an entirely new approach to jazz trio performance as well as for his remarkable ability to blend the jazz and classical idioms to create something wholly new. His critically acclaimed legacy of recorded music reflects this tremendous artistic versatility with recordings ranging from solo piano, duets, and trio to large ensembles and symphony orchestra. His popular DVD recording with the Berlin Philharmonic showcases his groundbreaking arrangement of Gershwin's “Concerto in F for Piano and Orchestra”. One of Roberts’ more recent musical projects is the founding of a new band called The Modern Jazz Generation. This multigenerational ensemble is the realization of Roberts’ long-standing dedication to training and mentoring younger jazz musicians. Roberts is also an associate professor of music at the School of Music at Florida State University and he holds an honorary Doctor of Music degree from The Juilliard School.

In addition to his renown as a performer, Roberts is also an accomplished composer who has received numerous commissioning awards from such places as Chamber Music America, Jazz at Lincoln Center, ASCAP, the Atlanta Symphony Orchestra and the Savannah Music Festival, Seiji Ozawa and the Saito Kinen Orchestra (who commissioned him to write his second piano concerto, “Rhapsody in D for Piano and Orchestra”), and most recently, the American Symphony Orchestra.(10.13.20)
 

Concerts will Feature the World Premiere of Artist in Residence Erica Lindsay’s Adagio for String Orchestra (2020) and Works by Casals, Vivaldi, Mozart, Mahler, and Elgar

October 24 Event Will Honor Cellist and Faculty Member Luis Garcia-Renart (1936–2020)

The Bard College Conservatory of Music presents a student and faculty showcase weekend, October 24–25, two free, live-streamed concerts featuring the Bard College Conservatory Orchestra, Leon Botstein, conductor, showcasing performances by celebrated violinists and new Conservatory faculty Gil Shaham and Adele Anthony, as well as students and other faculty from the Bard Music Program, Conservatory, and The Orchestra Now. The October 24 concert, at 7:30 p.m., is in honor of cellist and faculty member Luis Garcia-Renart (1936–2020), and features the world premiere of Artist in Residence Erica Lindsay’s Adagio for String Orchestra (2020), as well as works by Casals and Vivaldi. Garcia-Renart, who taught at Bard from 1962 until his death earlier this year, was a former student of Casals. The October 25 concert, at 3 p.m., includes performances of works by Mozart, Mahler, and Elgar. Both concerts are free and will be live streamed from the Fisher Center at Bard’s Sosnoff Theater. Reservations are required. Proceeds support the Conservatory Scholarship Fund. For more information, visit fishercenter.bard.edu.

October 24 at 7:30 p.m.
Bard College Conservatory Orchestra Leon Botstein, Music Director
Concert in honor of cellist and faculty member Luis Garcia-Renart (1936–2020)

Pablo Casals
“The Song of the Birds” (El cant dels Ocells)

La Sardana, Cello choir with faculty members Peter Wiley and Raman Ramakrishnan and cellists from the Conservatory, The Orchestra Now, and the Music Program

Erica Lindsay
Adagio World Premiere
Conservatory Orchestra with Erica Kiesewetter, conductor

Antonio Vivaldi
The Four Seasons
Conservatory Orchestra
with faculty soloists Gil Shaham and Adele Anthony, violinsOctober 25 at 3 p.m.
Bard College Conservatory Orchestra Leon Botstein, Music Director

W. A. Mozart
Serenade No. 6 in D Major, KV 239 “Serenata notturna”

Gustav Mahler
Adagietto from Symphony No. 5

Edward Elgar (1857–1934)
Introduction and Allegro, for string quartet and string orchestra in G Major, Op.47


BARD COLLEGE CONSERVATORY OF MUSIC

Tan Dun, Dean

Frank Corliss, Director

Marka Gustavsson, Associate Director

The Bard College Conservatory of Music expands Bard’s spirit of innovation in arts and education. The Conservatory, which opened in 2005, offers a five-year, double-degree program at the undergraduate level and, at the graduate level, programs in vocal arts and conducting. At the graduate level the Conservatory also offers an Advanced Performance Studies program and a two-year Postgraduate Collaborative Piano Fellowship. The US-China Music Institute of the Bard College Conservatory of Music, established in 2017, offers a unique degree program in Chinese instruments.

For more information, see bard.edu/conservatory.
 
(10.08.20)

 
https://fishercenter.bard.edu/

The Center for Curatorial Studies, Bard College (CCS Bard) will present Sky Hopinka: Centers of Somewhere opening October 17, 2020, a focused look at key ideas, preoccupations, and methods in the work of artist and filmmaker Sky Hopinka (born 1984 in Ferndale, Washington). In order to limit capacity in the museum guests must register in advance - see below for details on how to visit.

A member of the Ho-Chunk Nation of Wisconsin and the Pechanga Band of Luiseño Indians, Hopinka has become recognized for video work that centers around personal positions of Indigenous homeland and that explores language as a container of culture. Within the trajectory of experimental cinema, Hopinka contributes to the development of Indigenous aesthetics, insisting on a profoundly subjective position that destabilizes entrenched colonial perspectives and related descriptions of land, sky, sea, myth, place, and personhood. Significant to his work is the study and teaching of the near extinct Indigenous language chinuk wawa. His films are sometimes subtitled in English and chinuk wawa or the language Hočąk, and move between concepts in each linguistic system to subvert and question them.

Centers of Somewhere will present a newly commissioned, multi-channel work Here you are before the trees (2020), alongside a selection of recent videos and photography. The newly commissioned work will explore Indigenous histories of the Hudson Valley as they are connected to other regions in the U.S. Each channel of the new installation will focus on a different aspect of these landscapes, including the Stockbridge Munsee Band of Mohican Indians who were relocated from the Hudson Valley region to Wisconsin near Hopinka’s tribal homeland. The installation also incorporates research on Henry Roe Cloud, a Ho-Chunk tribal member from Wisconsin who was a contributor to the Merriam Report of 1928 as well as the prolific and influential writer Vine Deloria Jr. and his father, Vine Deloria Sr. who was a graduate of St. Stephen’s College, Bard’s first incarnation. Centers of Somewhere will also present a new series of sixteen photographs entitled Breathings (2020) that were shot throughout the U.S. in 2020. While the photographs within the Breathings series range in locations and subject matter, a text binds them, with its handwritten lines encircling the borders of each image. For instance, a line around a cold Chicago intersection devoid of people reads:  “I think of my home tonight. I don't have any resolutions, but I've felt so much through these streets, these neighborhoods. This land and this Land hold so much, and this pain and this Pain call for salves we already have, still needing to be wrapped and poulticed.”

Centers of Somewhere also includes several short video works by Hopinka including Dislocation Blues (2017), an experimental documentary of the Standing Rock protests, offering what the artist calls an “incomplete and imperfect portrait of reflections” around the historic event and its potential; Jáaji Approx (2015), which layers recordings of Hopinka’s father over landscapes that the two (father and son) have separately traveled; and, I’ll Remember You as You Were, not as What You’ll Become (2016), an elegy to poet Diane Burns (Chemehuevi/ Anishinabe) that meditates on mortality, afterlife and reincarnation.

Sky Hopinka: Centers of Somewhere is curated by Lauren Cornell, Director of the Graduate Program and Chief Curator, CCS Bard. A series of on-line public programs for Centers of Somewhere will be organized by Cornell and Dr. Christian Ayne Crouch, Associate Professor of History, Bard College. The first virtual event will take place on October 19th at 5 p.m. In this special presentation, Heather Bruegl, Director of Cultural Affairs for the Stockbridge Munsee Community, will provide an overview of local history with an aim to restore Indigenous presence at Bard College. This activation, issued from the community's current home in Wisconsin, acknowledges the continuing Mohican and Munsee relationship to their homelands. Registration for this virtual event and others (to be announced) will be available on the CCS Bard website (https://ccs.bard.edu/).

Alongside Centers of Somewhere, CCS Bard will co-publish Perfidia a book of Hopinka’s writings with Wendy’s Subway, a non-profit reading room, writing space, and independent publisher located in Bushwick, Brooklyn. The book will also feature an essay by Julie Niemi, independent curator and CCS Bard Alum 2017.

Exhibitions at CCS Bard are made possible with support from the Marieluise Hessel Foundation, the Audrey and Sydney Irmas Foundation, the Robert Mapplethorpe Foundation, the Board of Governors of the Center for Curatorial Studies, the CCS Bard Arts Council, and the Center’s Patrons, Supporters, and Friends.

Major support for Centers of Somewhere is provided by Lonti Ebers.

###
How To Visit
The CCS Bard Galleries are open Thursday through Sunday from 12:00 p.m. to 5:00 p.m. Admission is by advance reservation only - reserve and confirm your timed tickets here. We have instituted new attendance protocols to ensure the health and safety of our patrons, community, and staff. To read more about all the safety precautions we have in place and to prepare for your museum visit, please read more here.  Reserved tickets are free to the public. We cannot admit walk-up visitors, so please confirm your reservation before visiting.

Access Policy for Hessel Museum of Art and CCS Bard Galleries
CCS Bard and the Hessel Museum are located in a single-level facility. Parking is available outside of the building in an ADA-compliant parking lot which has four accessible parking spaces at the end of the paved entrance way. If you have specific questions or requests about access, please write to ccs@bard.edu at least two weeks before your visit or the event you plan to attend and we will make every effort to accommodate you. During your visit, you may seek the assistance of Security and Visitor Service staff members who are present at the CCS Bard reception desk and throughout the exhibitions. Please don’t hesitate to contact ccs@bard.edu with feedback about your visit. To read our full access policy, please see our website here.

MEDIA CONTACTS:    
For further information, for images, or to arrange interviews, please contact:

BARD COLLEGE CONTACT:
Mark Primoff
Director of Communications
Tel: +1 845.758.7412      
Email: primoff@bard.edu        

PRESS ADVISOR:
Gabriel (Gabe) Einsohn
M: 202.415.8095
Email: Gabriel.Einsohn@gmail.com

CCS BARD CONTACT:                                    
Ramona Rosenberg                                        
Director of External Affairs                                          
Tel: +1 (845) 758-7574                                               
Email: rrosenberg@bard.edu
 
https://ccs.bard.edu/

Bard at Brooklyn Public Library microcollege student and artist Russell Craig ’22 has installed a mural honoring the Black Lives Matter movement at the entrance of the Philadelphia Municipal Services building. The mural, called Crown, is just steps from where the statue of controversial former Mayor Frank Rizzo once stood, and the site of large protests in late spring demanding the city remove the statue, which it did in June.
 
https://whyy.org/articles/black-lives-matter-mural-now-greets-visitors-at-phillys-municipal-services-building/

Bard College announced today the appointment of Tania El Khoury as Distinguished Artist in Residence of Theater and Performance and Ziad Abu-Rish as Visiting Associate Professor of Human Rights. Together they will lead a pioneering Master of Arts program in Human Rights and the Arts, planned to commence in Fall 2021. Designed by Bard’s Human Rights Program, the Fisher Center at Bard, and the Central European University, and launched through the Open Society University Network (OSUN), the interdisciplinary program will bring together scholars, artists, and activists from around the world to explore the highly-charged relation between artistic practices and struggles for truth and justice.

The appointments deepen Bard’s relationship with El Khoury and Abu-Rish, both of whom were visiting faculty at the college in 2019. Abu-Rish taught in the Human Rights Program, while El Khoury co-curated the 2019 edition of the Live Arts Bard Biennial at the Fisher Center at Bard.  Where No Wall Remains: an international festival about borders included nine newly commissioned projects by artists from the Middle East and the Americas. In addition to their work with the new graduate program, they will also teach in the undergraduate college: El Khoury is joining the faculty of the Theatre & Performance Program; Abu-Rish is affiliated with the Human Rights Program.

The proposed M.A. program in Human Rights and The Arts links the study of advocacy, law, and politics to critical theoretical-historical reflection, and focuses on the power of aesthetic, performative, and curatorial forms in the fight for rights. Anchored in the intersection of art, research, activism and social change, it will offer students the opportunity to explore interdisciplinary training, creative knowledge production, and practice-based research. At its heart is a perspective that looks beyond the U.S.-based art and NGO industries to identify, assess, and engage with the ethical, intellectual, and political potential of this emerging hybrid form. Students in the program will pursue a core of interdisciplinary courses in human rights theory and practice, supplemented with electives across the arts and humanities, including, in particular, the study and practice of live arts and performance, and curatorial practices.

“The international and cross-disciplinary dimensions of this new program make it groundbreaking and timely,” said Gideon Lester, Artistic Director of the Fisher Center and Director of Bard’s Theater & Performance Program. “Students will work with artists, faculty, and curators across OSUN's international network and beyond. Artists and human rights experts will inform each other’s practices, offering a fully integrated pedagogy. At a time when the ideals of open society and liberal education are threatened, this program will offer unique and fertile opportunities to study and share best practices across the world.”

El Khoury is internationally recognized for her installations, performances, and video projects. A Soros Arts Fellow for 2019, El Khoury's work explores political histories and contemporary issues through richly-researched and aesthetically-precise events focused on audience interactivity and concerned with the ethical and political potential of such encounters. In as Far As My Fingertips Take Me, a one-on-one performance, a refugee artist painstakingly inscribes a drawing on the arm of a guest while narrating the story of his sisters' escape from Damascus.  In Gardens Speak, an interactive sound installation, the audience is asked to dig in the dirt to exhume stories of the Syrian uprising. El Khoury holds a PhD in Performance Studies from Royal Holloway, University of London. She is affiliated with Forest Fringe in the United Kingdom and is the co-founder of the urban research and performance collective Dictaphone Group in Lebanon.

Abu-Rish was previously Assistant Professor of History and Founding Director of the Middle East and North Africa Studies Certificate Program at Ohio University. He holds a Ph.D. in History from the University of California, Los Angeles, and serves as Co-Editor of Arab Studies Journal. He has a highly successfully track-record of institution building, public scholarship initiatives, and graduate student training. He co-edited Jadaliyya, organized summer institutes for graduate students, and contributed to various research centers and academic associations. Abu-Rish has published widely on politics, economics, and popular mobilizations in Lebanon and Jordan, and is a co-editor, with Bassam Haddad and Rosie Bsheer, of The Dawn of the Arab Uprisings: End of An Old Order? (2012). He is currently completing a book entitled The State of Lebanon: Popular Politics and the Institution Building in the Wake of Independence.

“Almost 20 years ago Bard was the first U.S. institution to offer a full, free-standing, interdisciplinary B.A. in Human Rights,” said Thomas Keenan, director of Bard's Human Rights Program. “Tania El Khoury and Ziad Abu-Rish will expand this to the graduate level and explore the forces that emerge at the intersection between human rights and the arts. The program will underscore the importance of the arts and humanities in confronting pressing social issues, and serve as an incubator of new ideas and strategies within the human rights movement at a time when it is widely understood to be under assault.”

The program is supported by the newly-founded Open Society University Network, a global project of Bard College, the Central European University, and the Open Society Foundations, with university and research partners stretching from Germany and Kyrgyzstan to Ghana and Colombia.7/8/20
 

Young Asians and Latinx in the United States are taking the conversation about racism in America home by tackling difficult conversations with their families. Bard alumnus Charlie Mai and his brother, Henry, caused a family row when they told their father, a retired FBI agent, that they were attending a Black Lives Matter protest in D.C. Since then, conversations about race in their house have progressed, with Glenn Mai admitting, “I’ve been wrong.” Charlie is a Class of 2018 graduate in the Theater and Performance Program, who now works as an artist in New York City.
https://www.washingtonpost.com/local/young-asians-and-latinos-push-their-parents-to-acknowledge-racism-amid-protests/2020/06/21/97daa5f2-b193-11ea-856d-5054296735e5_story.html

Bard College announces the appointment of Hannah Barrett as director of the Milton Avery Graduate School of the Arts. Prior to this appointment, Barrett, an award-winning artist and educator who has taught, lectured, and exhibited widely, was the international program coordinator at Bard College Berlin. Barrett succeeds Arthur Gibbons, who served as director of the Bard MFA program since 1990. Gibbons will continue teaching at Bard as professor of sculpture in the College’s Division of the Arts.

“I am delighted that Hannah Barrett has accepted the appointment as the new Director of the MFA program, one of Bard’s most distinguished graduate programs and one of the finest MFA programs in the country,” said Bard College President Leon Botstein. “She has been a terrific colleague and is uniquely suited to take this vital task on. She follows the remarkable, long, and distinguished tenure of Arthur Gibbons, who led the MFA to achieve its international renown. I thank Hannah and the faculty in the MFA program for their cooperation in finding a path to continue the excellent and innovative work of the MFA in this challenging time.”

Hannah Barrett is a Brooklyn and Hudson Valley based artist. The portrayal of gender ambiguity has driven her painting for over a decade, which has led to the current exploration of dandy monsters in domestic space. Recent exhibitions include a 2020 retrospective at Childs Gallery, Boston, a two-person invitational in 2019 at La MaMa Galleria, and a solo at Yours Mine and Ours Gallery in 2018. Selected group shows include Spring Break 2020, Platform Project Space, Dumbo NY, Kate Werble and Calicoon galleries in NYC, Mother Gallery, Beacon NY, and September Gallery in Hudson NY. Museum Shows include the Decordova Museum, Museum of Fine Arts Boston, and National Museum of Women in the Arts. Her work has been written about in Art Forum, Time Out New York, and Modern Painters. Barrett is on the curatorial staff of Soloway Gallery in Williamsburg. Barrett is also the illustrator of a vegan and lesbian themed children’s book “Nuts in Nutland”. Prior to coming to Bard, Barrett taught painting and drawing for 18 years and was on the faculty at the School of the Museum of Fine Arts Boston and the Pratt Institute Brooklyn. Barrett holds a BA in studio art and German literature from Wellesley College and an MFA in painting from Boston University.

Founded in 1981, Bard MFA is a nontraditional school for visual, written, and time-based arts. At Bard, the community itself is the primary resource for the student—serving as audience, teacher, and peer group in an ongoing dialogue. In interdisciplinary group critiques, seminars, school presentations, as well as discipline caucuses and one-on-one conferences, the artist students engage with accomplished faculty members, while developing their individual studio practices. The program probes a diversity of approaches and fosters imaginative responses and insights to aesthetic concerns across the disciplines of film/video, writing, painting, sculpture, photography, and music/sound.

The Bard College Theater and Performance Program has been invited by Theatre for a New Audience, in Brooklyn, to give three more live online performances of Mad Forest, as a coproduction with the Fisher Center. Bard students will be performing (virtually) off-Broadway. Performances on May 22, 24, and 27.

Mad Forest premiered on April 10 as the Theater and Performance Program's first-ever virtual production. Originally slated for the Fisher Center stage, the creative team transformed the work for live webcast. Ashley Tata directs this reimagining of Caryl Churchill's sly, funny, and surreal account of the Romanian Revolution, performed live by actors in isolation from 14 remote locations using a specially modified version of Zoom.

The live webcast of Mad Forest was a project of UPSTREAMING: the Fisher Center’s Virtual Stage. Learn more about the production and watch UPSTREAMING performances on the Fisher Center's website.
https://www.tfana.org/current-season/digital-programming/madforest

Join Bard Professor in the Arts Neil Gaiman for a remote, livestreamed conversation with Hugo Award–winning author N. K. Jemisin (Broken Earth trilogy), whose new work The City We Became was released in March to great acclaim. Presented in association with Oblong Books & Music, the conversation is part of an ongoing Fisher Center series in which Gaiman discusses the creative process with another artist. The live webcast of this event is a project of UPSTREAMING: the Fisher Center’s Virtual Stage.
https://fishercenter.bard.edu/events/gaiman-jemisin/#eventoverview

The Bard College Dance Program and GIBNEY, a New York City–based dance and social justice organization led by Founder, Artistic Director, and CEO Gina Gibney, are creating a new partnership to begin in fall 2020. This will be the fourth professional partnership launched by the Dance Program, which began in 2009 with the Bill T. Jones/Arnie Zane Dance Company.

The Bard Dance Program/Gibney Partnership will provide unique opportunities for Bard students to work closely with Gibney’s resident dance troupe, Gibney Company, a commission-based, repertory company that works with renowned and rising international choreographers representing a broad range of aesthetics and techniques.

Gibney Company artists and directors Amy Miller and Nigel Campbell, and Bard faculty member and Partnership Coordinator Tara Lorenzen* and Director of Dance Maria Simpson will spearhead the partnership.

Each semester, artists selected by Gibney’s leadership will teach courses embedded in Bard’s dance curriculum, including studio courses for all levels of dancers, as well as seminar courses that address discipline-specific topics, such as Dance Writing as Activism. A special feature of this partnership will be the opportunity to perform Bard Dance Senior Projects at Gibney Center in Manhattan in the spring. Gibney will also offer yearlong artistic advising of student choreographers. Extracurricular workshops and master classes will further enhance the educational field of study. Gibney Company’s residency at the College will include open rehearsals and a public showing. This partnership represents a wide-ranging vision of what dance can be in a liberal arts curriculum at a time when artist engagement in both local and global communities is essential.

*Tara Lorenzen has danced with the Merce Cunningham Dance Company, the Trisha Brown Dance Company, Stephen Petronio, Beth Gill, and Maria Hassabi, has worked for the American Dance Festival and Kaatsbaan|cultural park for dance on their education initiatives, and has been teaching in the Dance Program at Bard College since 2016.
https://gibneydance.org/

“Life in the era of COVID-19, as in all times of crisis, amplifies our basic instincts. Do we become anxious or confident, selfish or generous, rigid or adaptable? The same applies to institutions. And right now, at this moment of national and global crisis, Bard College is demonstrating who we are: student-focused, innovative, entrepreneurial, and civically engaged.” —Jonathan Becker, Vice President for Academic Affairs and Director of the Center for Civic Engagement at Bard College

A broad network of Bard faculty and staff—including Ivonne Santoyo-Orozco and Ross Exo Adams in the Bard Architecture and Design Program; Maggie Hazen and Melinda Solis in Studio Arts; IT’s Doug O’Connor, Hayden Sartoris, and Christopher Ahmed; and the Philosophy Program’s Katie Tabb—has come together to produce face shields for frontline health-care workers who are grappling with a nationwide shortage of protective gear.

With two 3D printers loaned by Bard physicist Paul Cadden-Zimansky, Exo Adams and Santoyo-Orozco set up a makeshift lab in Tivoli to fabricate reusable face shields for health-care workers. When the lab is fully operational, they expect to produce up to 50 shields per week. Hazen and Solis have begun a production line as well, using 3D printers purchased with proceeds from a GoFundMe campaign established by MFA alumna Luba Drozd ’15 that has raised more than $20,000. A small batch of shields has already been distributed to Columbia Memorial Hospital in Hudson, New York, and the group is now looking for more distribution options in the Hudson Valley. Deliveries of face shields are also scheduled for Albany Medical Center and, in Dover, New Jersey, Saint Clare’s Hospital, where a Bard student’s relative works and on whose behalf the student made a request. Anyone interested in distribution or in assisting with the project should contact Doug O’Connor (oconnor@bard.edu), who is centralizing the distribution efforts with the help of CCS Bard students.

And in Annandale, members of the Fisher Center’s Costume Shop—together with Audrey Smith from Buildings and Grounds, Rosalia Reifler from Environmental Services, and Saidee Brown from the President’s Office—have sewn nearly 200 face masks for the essential College employees who remain on campus.
 
To learn more about virtual engagement opportunities at Bard, visit Bard Connects.

The Bard College Theater and Performance Program presents a live-stream of Caryl Churchill's Mad Forest on April 10 at 7 pm.

Romania. December 25, 1989. A dictator is executed. A totalitarian regime topples. What happens next? Caryl Churchill’s 1990 play depicts life during and after a repressive dictatorship. Reimagined as a digital presentation by a professional creative team and student performers, this 30-year old work approached from a 2020 point of view powerfully resonates with our current global state. ⠀
⠀
YouTube Livestream ➡️ bit.ly/MadForestYT
Facebook Live ➡️ bit.ly/MadForestFB

#UPSTREAMINGFC #MADFORESTFC

 
https://fishercenter.bard.edu/events/spring-mainstage-2020/

Bard College student and photography major Peace Okoko ’21 won a $10,000 Davis Projects for Peace grant. This grant offered her the opportunity to spend the summer in Kenya, where she would work to increase homeless women’s access to proper sanitary supplies and facilities. In its 14th year, the Davis Projects for Peace program invited undergraduates to design grassroots peace-building projects to be implemented during the summer of 2020 and selected the most promising and feasible projects to be funded. Although all 2020 Projects for Peace have been cancelled due to the COVID-19 pandemic, it is the foundation’s hope that circumstances will permit them to roll these grants forward to 2021.

Okoko’s project proposed providing reusable sanitary products (either cloth pads or menstrual cups) to homeless women in Nairobi’s slums. She plans to work with an organization ‘Bank on Me’ that distributes pads to girls and help extend their demographic reach. Her project would educate women on how to create their own clothing pads in hopes to foster future sustainability. Through Bank on Me’s network of local tailors, they would provide a one-day training on how to create the clothing pads. “Lack of access to menstrual hygiene products or sanitation facilities is dehumanizing, strips a person of their dignity and robs them the opportunity to have a peaceful existence with themselves and the community around them,” writes Okoko. “In 2020, access to sanitary products should not be a privilege but rather commonplace.”

Projects for Peace was created in 2007 through the generosity of Kathryn W. Davis, a lifelong internationalist and philanthropist who believed that today’s youth—tomorrow’s leaders—ought to be challenged to formulate and test their own ideas.
https://davisprojectsforpeace.org

Two Bard College students have won prestigious Fulbright Awards for individually designed study/research projects and one student has been selected as an alternate. During their grants, Fulbrighters meet, work, live with and learn from the people of the host country, sharing daily experiences. The program facilitates cultural exchange through direct interaction on an individual basis in the classroom, field, home, and in routine tasks, allowing the grantee to gain an appreciation of others’ viewpoints and beliefs, the way they do things, and the way they think. Bard College is a Fulbright top producing institution.

Madison Emond ’18, a photography major from Barrington, Rhode Island, has won a Fulbright Scholarship to New Zealand, where she will pursue a photography project, initially developed as her Bard College Senior Project, Nature as Artist: Visualizing the Personhood of the New Zealand Landscape. “My photographic practice sets out to question traditional landscape imagery and how it affects the viewer’s relationship to the environment. Still images of nature can estrange us from knowing the Earth as a living, shifting, unruly being, locked in a process of steady, often violent, transformation. No matter how moving or dramatic a photograph of nature is, it often speaks only to the vantage point of its maker standing outside of it. Rather than making images of the landscape I make images with the landscape. What I mean is this: all my works are made through the interaction of photosensitive materials, the natural world, and moonlight – and nothing else,” says Emond. Emond has chosen New Zealand because it was one of the first nations in the world to grant legal personhood to landforms. In 2014, Te Urewera, a national park, was granted legal personhood. Three years later, the Whanganui River was granted this same status. Emond’s project has a cross-cultural component. “The United States has a passion for the natural beauty of its land and I believe its people have the capability to recognize a similar alternative relationship between its human and “natural” citizens. With that belief in mind, I plan to explore how legal personhood could benefit landforms in the United States.”

Michelle Jackson-Beckett, a Ph.D. student in the Bard Graduate Center, won a Fulbright Scholarship to Austria to conduct research on “Vienna’s Other Modernism: Design and Dwelling 1918-1968.” Jackson-Beckett has accepted a faculty position at the University of Applied Arts Vienna in lieu of the Fulbright scholarship.

Medora Jones ’18, who graduated from Simons Rock in 2016, has been named an alternate for a Fulbright English Teaching Assistantship to Morocco.

The Fulbright U.S. Student Program is the largest U.S. exchange program offering opportunities for students and young professionals to undertake international graduate study, advanced research, university teaching, and primary and secondary school teaching worldwide. The program currently awards approximately 2,000 grants annually in all fields of study, and operates in more than 140 countries worldwide. Fulbright U.S. Student alumni populate a range of professions and include ambassadors, members of Congress, judges, heads of corporations, university presidents, journalists, artists, professors, and teachers. Bose Corporation founder Amar Bose, actor John Lithgow, composer Philip Glass, opera singer Renee Fleming and economist Joseph Stiglitz are among notable former grantees.

 
https://us.fulbrightonline.org

On Monday, March 2, 2020, Berlin Prize–winning author Carole Maso will read from her work at Bard College. Known for her experimental, poetic, and fragmentary narratives, “Maso is a writer of such power and originality that the reader is carried away with her, far beyond the usual limits of the novel,” writes the San Francisco Chronicle. Maso will be introduced by Bard literature professor and novelist Bradford Morrow. The reading, presented by Morrow’s Innovative Contemporary Fiction Reading Series, takes place at 2:30 p.m. in Weis Cinema, Bertelsmann Campus Center. It is free and open to the public; no reservations are required. 
 
https://www.bard.edu/news/releases/pr/fstory.php?id=16614

On Tuesday, February 4, esteemed filmmakers Charles Burnett, Julie Dash, and Bradford Young will take part in a discussion at Bard College exploring their career trajectories, works, creative processes, and commitments to the humanities. The event is part of a series, “Creative Process in Dialogue: Art and the Public Today,” which seeks to diversify perspectives on the arts disciplines and to offer models for collective and inclusive community dialogues. The discussion is made possible through a 2019 FilmCraft Grant from the Academy Foundation of the Academy of Motion Picture Arts and Sciences and is cosponsored by Bard’s Film and Electronic Arts Program, Center for Civic Engagement, Art History Program, American Studies Program, and Africana Studies Program. The conversation will be moderated by Tabetha Ewing ’89, Social Studies Division chair and associate professor of Historical Studies, and Dariel Vasquez ’17, director of program design and management at Brothers@Bard (BAB). It takes place from 6–8 p.m. in Olin Auditorium (Olin Hall) and is free and open to the public. Registration is required. For more information or to register, click click here.
 
“Through this public dialogue, we hope to highlight the rich forms of black filmmaking that unfold on university campuses and celebrate the extraordinary work of these marvelous and generous practitioners who have not only changed which actors and stories appear on screen but also the ways audiences interpret and use films in their daily lives,” said Director of Africana Studies at Bard and Assistant Professor of Africana and Historical Studies Drew Thompson, organizer of the discussion series. “Ultimately, these conversations between artists aim to inspire underrepresented groups to pursue careers in the visual and performing art and to highlight the productive and impactful ways in which visual and performing artists engage communities.”
 

Patrick Vaill ’07 took his final Broadway bow as Jud Fry, after performing in Daniel Fish’s production of the musical Oklahoma! since he was a student at Bard. The Tony Award–winning Broadway production closed last weekend after an immensely successful run. Daniel Fish’s reimagining of the Rodgers and Hammerstein classic began as a 2007 staging with Bard students in the Theater Program. Fish then adapted the production for Bard SummerScape 2015, took it to St. Ann’s Warehouse in Brooklyn, and then to Broadway. Patrick Vaill played Jud Fry in every iteration of the production. In this interview with the New York Times, Vaill reflects on embodying the iconic role and pays tribute to his alma mater.
https://www.nytimes.com/2020/01/20/theater/patrick-vaill-oklahoma-broadway.html

“One of the most celebrated new voices in epic fantasy.” —Salon.com

The Fisher Center at Bard, in association with Oblong Books & Music, presents a public conversation between two leading writers of fantasy and science fiction: Neil Gaiman, Bard professor in the arts, and Hugo Award–winning author N. K. Jemisin (Broken Earth trilogy), whose new work The City We Became will be published in March. 

The program takes place on Saturday, May 2, at 7:30 p.m. in the Sosnoff Theater of The Richard B. Fisher Center for the Performing Arts at Bard College. Tickets are $25 and can be ordered online at fishercenter.bard.edu or by calling the box office at 845-758-7900. $5 student tickets available to Bard undergraduate students through the Passloff Pass.

The conversation is part of an ongoing series in which author Gaiman discusses the creative process with another artist. Following the program, N. K. Jemisin will sign books in the lobby, which will be available for purchase, courtesy of Oblong Books. Signed titles by Neil Gaiman will also be available for purchase.

N. K. Jemisin is the first author in history to win three consecutive Best Novel Hugo Awards, all for her Broken Earth trilogy. Her work has also won the Nebula, Locus, and Goodreads Choice Awards. Her most recent work is the acclaimed short fiction collection How Long ’Til Black Future Month?, and her next novel will be The City we Became in March 2020. Jemisin has been a reviewer for the New York Times Book Review, and she has been an instructor for the Clarion and Clarion West writing workshops. In her spare time she is a gamer and gardener, and she is also single-handedly responsible for saving the world from King Ozzymandias, her dangerously intelligent ginger cat, and his phenomenally destructive sidekick Magpie.

Neil Gaiman is a New York Times bestselling author of novels, poetry, short stories, graphic novels, comics, journalism, and screenplays, who is listed in the Dictionary of Literary Biography as one of the top 10 living postmodern writers. Works include The Ocean at the End of the Lane, Neverwhere, Stardust, Anansi Boys, Good Omens (with Terry Pratchett), the award-winning Sandman series of graphic novels, and the short story collections Smoke and Mirrors and Fragile Things. Novels for younger readers include Fortunately, the Milk; Coraline, also an Academy Award–nominated film; and The Graveyard Book, winner of the Newbery (U.S.) and Carnegie (U.K.) Medals. He has written and directed for film and television, including a 2011 episode of Doctor Who that won the Ray Bradbury Award for Outstanding Dramatic Presentation and the 2012 Hugo Award for Best Dramatic Presentation, Short Form. Make Good Art, the text of a commencement speech he delivered at Philadelphia’s University of the Arts, was published in a volume designed by graphic artist Chip Kidd. At Bard since 2014.
About the Fisher Center
The Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas, offering perspectives from the past and present, as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. Building on a 159-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders.

Kelly Reichardt, S. William Senfeld Artist in Residence at Bard College, has been given a $50,000 Film Independent Spirit Awards Filmmaker Grant designed to recognize a midcareer female director. Reichardt won the third annual Bonnie Award, named for Bonnie Tiburzi Caputo, who became the first woman to pilot a major U.S. airline when she joined the award’s sponsor, American Airlines, in 1973.

Kelly Reichardt is an award-winning independent filmmaker whose most recent work, First Cow, was screened at the 2019 New York Film Festival. Other films include Certain Women, starring Laura Dern, Michelle Williams, Kristen Stewart, and Lily Gladstone; Night Moves (2013), Meek’s Cutoff (2010), Wendy and Lucy (2008), Old Joy ( 2006), and River of Grass (1994). Honors received include a United States Artists Fellowship, Guggenheim Fellowship, Anonymous Was a Woman Award, and Renew Media Fellowship. Her work has been screened at major international film festivals, with retrospectives at several leading institutions devoted to the cinematic arts.

Reichardt has been teaching in the Film and Electronic Arts Program at Bard College since 2006.
https://www.thewrap.com/kelly-reichardt-spirit-awards-filmmaker-grant/

Cecilia Alemani MA ’05, director and chief curator of New York’s High Line, has been named curator of the 59th Venice Biennale. She will be only the fifth woman to curate the biennale in its century-long history, and the first Italian woman to do so.
https://www.nytimes.com/2020/01/10/arts/design/venice-biennale-cecilia-alemani.html

Two Bard College students were awarded a highly competitive Benjamin A. Gilman International Scholarship by the U.S. Department of State. Art history major Tatiana Alfaro ’21 has been awarded $5,000 towards her studies at Bard College Berlin. “I’m so happy to have received the Gilman award. It’s definitely an honor and was unexpected. My experience with Gilman will enhance my experience abroad. Studying in Berlin will help me have a more global view on the art world, and specifically, what I want my role within it to be. I believe it will be a good opportunity for me to see my personal and academic interests overlap, not only as an art historian but as a global learner.”

Biology major Mary Reid ’21 has been awarded $3,000 for her term at the Lorenzo di Medici Institute in Florence, Italy. “Studying abroad is an aspiration for many students but financial concerns are often an impossible barrier. I am incredibly privileged to reach for my own aspirations as a result of this scholarship, my supportive friends, and my wonderful family. While abroad, I hope to gain a greater knowledge of new cultures and ideas, as well as an increased sense of autonomy and introspection. I am eager to make my study abroad experience live up to my childhood ambitions. Thank you to everyone who has made this possible.”

Gilman Scholars receive up to $5,000 to apply towards their study abroad or internship program costs with additional funding available for the study of a critical language overseas. The Gilman scholarship supports American undergraduate students of limited financial means to study or intern abroad and, since 2001, has enabled more than 31,000 outstanding Americans of diverse backgrounds to engage in a meaningful educational experience abroad. The program has successfully broadened U.S. participation in study abroad, while emphasizing countries and regions where fewer Americans traditionally study. The late Congressman Gilman, who served in the House of Representatives for 30 years, chaired the House Foreign Relations Committee, and was honored with the Secretary of State’s Distinguished Service Medal in 2002, commented, “Study abroad is a special experience for every student who participates. Living and learning in a vastly different environment of another nation not only exposes our students to alternate views, but also adds an enriching social and cultural experience. It also provides our students with the opportunity to return home with a deeper understanding of their place in the world, encouraging them to be a contributor, rather than a spectator in the international community.”
https://www.gilmanscholarship.org

“État remains a wonderfully twisted house of mirrors, where electronic gear and traditional instruments are treated as equals and often rendered indistinguishable from each other.”
https://www.npr.org/2019/12/11/778227044/10-classical-albums-to-usher-in-the-next-decade

Bard Artist in Residence Tanya Marcuse and Writer in Residence Francine Prose were in conversation at the Stephen A. Schwarzman Building of the New York Public Library on the evening of Monday, December 16. The event celebrated Marcuse’s new book Fruitless, Fallen, and Woven, published by Radius Books. This stunning three-volume set traces the arc of 14 years of Marcuse’s work, from the iconic trees of Fruitless to the lush, immersive photographs of Fallen and Woven. Her work features elaborate tableaux of flora and fauna suggestive of the abstract, large-scale paintings of Jackson Pollock and the symbolism of medieval tapestries. She discussed the creative process with Francine Prose, award-winning writer and best-selling author of more than 20 works of fiction.
http://tanyamarcuse.com/

Hollywood Reporter names BoJack Horseman, cocreated and produced by Raphael Bob-Waksberg '06, the #6 best TV show of the decade.
Full Story

TIME magazine calle the animated series Undone, created by Bob-Waksberg, one of the 10 best TV shows of the year.
Read the Story in TIME

Raphael Bob-Waksberg '06 will be competing against himself at the Gotham Awards this year: his shows Tuca & Bertie and Undone have both been nominated for Breakthrough Short-Form Series.
Read the Story in Variety

The Center for Curatorial Studies, Bard College (CCS Bard) is pleased to announce that Connie Butler, chief curator at the Hammer Museum, has been selected as the recipient of the 2020 Audrey Irmas Award for Curatorial Excellence on the occasion of the 30th anniversary of CCS Bard. For the past 21 years, the Audrey Irmas Award for Curatorial Excellence has celebrated and awarded the individual achievements of a distinguished curator whose lasting contributions have shaped the way we conceive of exhibition-making today. The award reflects CCS Bard’s commitment to recognizing individuals who have defined new thinking, bold vision, and dedicated service to the field of exhibition practice. This year the award will be presented to Butler by artist Andrea Fraser at a gala celebration and dinner co-chaired by CCS Bard Board of Governors member Lonti Ebers and Chairman of the CCS Bard Board Martin Eisenberg, and will take place on April 7, 2020, at One Manhattan West, 395 9th Avenue, in New York City. Event location provided by Brookfield Properties with additional generous support from Lonti Ebers.

“Connie Butler represents the best of curating; independently minded, always curious, dedicated to artists and consistently bold in the scope of her exhibitions and choices of subject.  Her exhibitions are touchstones of curating in the United States—helping to redefine subjects and the institutions where she works.” —Tom Eccles, Executive Director, CCS Bard

The awardee is selected by an independent panel of leading contemporary art curators, museum directors, and artists. Past recipients include Harald Szeemann (1998), Marcia Tucker (1999), Kasper König (2000), Paul Schimmel (2001), Susanne Ghez (2002), Kynaston McShine (2003), Walter Hopps (2004), Kathy Halbreich and Mari Carmen Ramírez (2005), Lynne Cooke and Vasif Kortun (2006), Alanna Heiss (2007), Catherine David (2008), Okwui Enwezor (2009), Lucy Lippard (2010), Helen Molesworth and Hans Ulrich Obrist (2011), Ann Goldstein (2012), Elisabeth Sussman (2013), Charles Esche (2014), Christine Tohme and Martha Wilson (2015), Thelma Golden (2016), Nicholas Serota (2017), Lia Gangitano (2018), and Carolyn Christov-Bakargiev (2019).

“I am thrilled to receive the Audrey Irmas prize for curatorial excellence. The history of this award is truly a distinguished one and it is an honor to be among such incredible colleagues at this critical time in our field. Now more than ever our work matters and I continue to follow and support the work of artists and believe in the future of museums.” —Connie Butler

The 2020 award will once again be given under the name of patron Audrey Irmas, who has bestowed the endowment for the Audrey Irmas Prize of $25,000. Irmas is an emeritus board member of CCS Bard and an active member of the Los Angeles arts and philanthropic community. The award has been designed by artist Lawrence Weiner, and is based on his 2006 commission Bard Enter, conceived for the entrance to the Hessel Museum of Art at CCS Bard.

Connie Butler is the Chief Curator at the Hammer Museum at UCLA, where she has organized numerous exhibitions including the biennial of Los Angeles artists Made in L.A. (2014), Mark Bradford: Scorched Earth (2015) and Marisa Merz: The Sky Is a Great Space (2017). She also co-curated Adrian Piper: A Synthesis of Intuitions which opened at The Museum of Modern Art, New York in April of 2018 and at the Hammer in October 2018; Andrea Fraser: Men on the Line, 2019 and Lari Pittman: Declaration of Independence a retrospective exhibition which opened at the Hammer September 2019. From 2006 to 2013 she was The Robert Lehman Foundation Chief Curator of Drawings at The Museum of Modern Art, New York where she co-curated the first major Lygia Clark retrospective in the United States, Lygia Clark: The Abandonment of Art, 1948–1988 (2014); and co-curated On Line: Drawing Through the Twentieth Century (2010) and mounted Marlene Dumas: Measuring Your Own Grave, the first US retrospective of the artist’s career. Butler also organized the groundbreaking survey WACK! Art and the Feminist Revolution (2007) at the Museum of Contemporary Art, Los Angeles where she was curator from 1996 to 2006.
http://ccs.bard.edu

The winners of the 2019 Concerto Competition were announced on Saturday, November 2, after the final round of performances at the Richard B. Fisher Center for the Performing Arts. Twenty-one students in the Bard College Conservatory of Music competed for the honor over a three-day period. This year’s winners are two undergraduates—Gitta Markó ’20, violin, who performed Concerto funebre by Karl Amadeus Hartmann, and Yixin Wang ’23, guzheng, who performed Fragrance of Jasmine Blossoms by Zhanhao He—and a second-year student in the Graduate Vocal Arts Program, mezzo-soprano Hailey McAvoy, who performed Shéhérazade by Maurice Ravel. The three winners will perform as soloists with the Conservatory Orchestra, The Orchestra Now, or the American Symphony Orchestra during the 2020–21 season.

You never know what you'll find in the Montgomery Place collection. The Curiosity Cabinet class, taught by Associate Professor of Art History Susan Merriam, meets regularly in the basement of the mansion at the Montgomery Place Campus to study some of the fascinating objects in the collection. Items include a mechanical cat, dueling pistols, and a chicken foot letter opener. The collection boasts well over 8,000 objects.

Students have been researching objects that illuminate the historical phenomenon of the curiosity cabinet. These collections of oddities, as small as a box or as large as a room, are precursors to the modern museum. In class on Tuesday, November 5, students gave presentations on their research, discussing such themes as shifting colonial structures in the era of the objects, the romanticism of nature and early American identity, and Victorian death culture.

During the 16th and 17th centuries, fabulous shells, valuable oil paintings, and exquisitely carved ivory pieces shared display space with oddly shaped vegetables, primitively taxidermied animals, and an array of other oddities in curiosity cabinets. Until relatively recently, scholars believed that the cabinets were merely eccentric exercises in the appreciation of peculiar or marvelous things. Recent research, however, has shown that the collections constitute a premodern system of classifying objects and an important step in the emergence of our modern taxonomic systems.

This course analyzes the emergence of the cabinets, the collecting practices that sustained them, the relationship between colonization and the cabinets, the curiosity aesthetic, and the role the cabinets played in the history of science. The main project for the course is to conceptualize and research a curiosity cabinet exhibition featuring objects from Montgomery Place. At least half of the classes during the semester meet at Montgomery Place, where students become familiar with the collections, learn about collections management, and do original research.

The exhibition of Montgomery Place objects and student research will take place at Stevenson Library over the winter, with an opening reception on December 10 from 3:00 to 5:00 p.m.
 

In “Evolution and Persistence: Bacewicz and Her Legacy,” Bard Music West “ensured that Bacewicz’s legacy continues to burn brightly.” Founded by Bard alumnae Allegra Chapman and Laura Gaynon, the organization presents an annual festival that endeavors to make 20th-century music relatable, in part by providing adequate context about the life and work of a single composer. This year’s festival presented three programs that illuminated the work of Polish composer Grażyna Bacewicz.
https://www.sfcv.org/reviews/bard-music-west/bard-music-west-champions-the-grazyna-bacewicz-legacy

The Television Academy has honored Boris FX, the leading developer of visual effects plugins and applications, with three Engineering Emmy Awards. The Boris FX products Sapphire, Mocha Pro, and Silhouette have each been recognized for their technical achievements and contribution to the world of television. Bardian Ross Shain is the chief product officer for Mocha, and he accepted the award at the 71st Engineering Emmy Awards ceremony on Wednesday evening, October 23, 2019, at the JW Marriott Hotel Los Angeles. 
https://www.creativeplanetnetwork.com/the-wire/boris-fx-wins-big-at-engineering-emmy-awards

The soprano and Bard Conservatory Graduate Vocal Arts Program alumna Julia Bullock is on the verge of an unconventional career.
https://www.nytimes.com/2019/10/25/arts/music/julia-bullock-zauberland-lincoln-center.html

Avallone’s 2019 Bettie Page Halloween Special is “a tribute to Bard,” he writes. The plot unfolds at “Annandale College” in upstate New York, where settings and characters are modeled on Avallone’s memories of Bard.
https://www.bleedingcool.com/2019/10/22/david-avallones-writers-commentary-on-bettie-pages-halloween-special-2019/

The Center for Curatorial Studies (CCS Bard) and the Human Rights Project announced today that Turkish sociologist, activist, and architectural theorist Pelin Tan has been selected as the sixth recipient of the Keith Haring Fellowship in Art and Activism. Her appointment coincides with the generous renewal by the Keith Haring Foundation of the five year-grant supporting the Fellowship, an annual award for a scholar, activist, or artist to teach and conduct research at CCS Bard and the Human Rights Project at Bard College. Tan’s appointment marks the beginning of the Fellowship’s second phase, and reaffirms the shared commitment of the College and the Foundation both to exploring the interaction between political engagement and artistic practices and to bringing leading practitioners from around the world into Bard's classrooms.

“The Keith Haring Fellowship brings some of today's most incisive and engaged voices to Bard.  This innovative, cross-disciplinary, fellowship provides for research, teaching and production of new ideas among the undergraduate and graduate programs,” said Tom Eccles, Executive Director of the Center for Curatorial Studies, Bard College.

Pelin Tan's current research concerns political movements that focus on climate justice, landscape, agriculture, and indigeneity, and particularly activist projects that put interactions with the non-human world at the forefront of their practice. She asks about how our concepts of justice and rights can be extended to landscape and territory, and about the role that critical artistic and architectural interventions can play in making these claims. She also continues to explore, and experiment with, alternative modes of pedagogy, new modes of teaching that work from the bottom up to challenge and transform the institutions of art and design education.   

Her practice combines scholarship, curating, and artistic and architectural creation. She was Associate Professor and Vice-Dean of the Architecture Faculty at Mardin Artuklu University in Turkey from 2013-2017, and has held visiting fellowship and research positions around the  world, from Hong Kong to Cyprus. Most recently she curated the Gardentopia: Cosmos of Ecologies project, in Matera, Italy, a program of European Cultural Capital 2019.

"Throughout her career, the work that Pelin Tan calls 'action research' has demonstrated that the borders between scholarship, activism, and creation can and must be transgressed if we want to pursue justice in this world. In this way, Pelin is an artist very much in the spirit of Keith Haring," said Thomas Keenan, director of Bard's Human Rights Project.

Tan will take up her one-year appointment in September 2019, and spend the spring semester of 2020 teaching at the College. She succeeds the artist and curator Tiona Nekkia McClodden, curator Galit Eilat, architects Alessandro Petti and Sandi Hilal, the artist and curator Shuddhabrata Sengupta, and the first recipient, artist Jeanne van Heeswijk.
 

Sillman’s The Shape of Shape at the newly reopened Museum of Modern Art in New York City is “among the most valuable of the inaugural shows.” Sillman “ranges throughout the collection, across media, generations and styles, seeking out overlooked or excluded artists and unfamiliar works. Her effort parallels the approaches at work in the permanent collection galleries, but reflects a relatively robust visual appetite — the artist’s unfettered eye — that the museum needs more of.  The show’s dense installation encourages surprising connections …”
 
https://www.nytimes.com/2019/10/17/arts/design/moma-reopening.html

Bard professor and acclaimed photographer Stephen Shore was honored with The 2019 Lucie Award for Achievement in Fine Art at the annual Gala Awards ceremony on Tuesday, October 22 at Carnegie Hall in New York. The awards are part of the Lucie Foundation’s mission to honor master photographers, discover and cultivate emerging talent, and promote the appreciation of photography worldwide. Since 2003, the foundation has paid tribute to more than 135 of the most important figures in contemporary photography through the Lucie Awards.

Professor Shore’s work has been widely published and exhibited for the past 45 years. He was the first living photographer to have a one-man show at the Metropolitan Museum of Art in New York since Alfred Stieglitz, 40 years earlier. He has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts. More than 25 books have been published of Professor Shore’s photographs. Since 1982 he has been the director of the Photography Program at Bard, where he is the Susan Weber Professor in the Arts.
http://www.lucies.org/honorees/stephen-shore/

New Faculty Chairs and Distinguished Professorships include Susan Aberth in Art History, Valeria Luiselli in Written Arts, Kelly Reichardt in Film and Electronic Arts, and An-My Lê in Photography

Bard College has appointed four new chairs and distinguished professorships across disciplines this fall. In the Division of the Arts’ Art History and Visual Culture Program, Susan Aberth has been named Edith C. Blum Professor of Art History. This chair was formerly held by Jean French. In the Division of Languages and Literature’s Written Arts Program, Valeria Luiselli has been named Sadie Samuelson Levy Professor in Languages and Literature. In the Division of the Arts’ Film and Electronic Arts Program, Kelly Reichardt has been named S. William Senfeld Artist in Residence. In the Division of the Arts’ Photography Program, An-My Lê has been named Charles Franklin Kellogg and Grace E. Ramsey Kellogg Professor in the Arts. This chair was formerly held by Peter Hutton.

Susan Aberth is an art historian whose area of specialization is surrealism in Latin America. Aberth’s teaching interests focus on Latin American art, African art, Islamic art, and other religious art and practices. Additional interests include African religious practices in the Americas, and the art and iconography of Freemasonry, Spiritualism, and the occult. In addition to her 2004 book Leonora Carrington: Surrealism, Alchemy and Art (Lund Humphries), she has contributed to Seeking the Marvelous: Ithell Colquhoun, British Women and Surrealism (Fulgur Press, 2020), Agnes Pelton: Desert Transcendentalist (Phoenix Art Museum, 2019), Surrealism, Occultism and Politics: In Search of the Marvelous (Routledge Press, 2018), Leonora Carrington: Cuentos mágicos (Museo de Arte Moderno & INBA, Mexico City, 2018), Unpacking: The Marciano Collection (Delmonico Books, Prestel, 2017), and Leonora Carrington and the International Avant-Garde (Manchester University Press, 2017), as well as to Abraxas: International Journal of Esoteric Studies, Black Mirror, and the Journal of Surrealism of the Americas. She received her BA from the University of California, Los Angeles; MA from the Institute of Fine Arts, New York University; and PhD from The Graduate Center, City University of New York. Aberth has been at Bard since 2000.

Valeria Luiselli is an award-winning writer of fiction and nonfiction whose books are forthcoming and/or published in more than 20 languages. A 2019 recipient of a MacArthur Fellowship, she is the author of the novels Lost Children Archive (2019); The Story of My Teeth (2015), named Best Book in Fiction by the Los Angeles Times and one of the best books of the year by the New York Times, and was a National Book Critics Circle finalist; and Faces in the Crowd (2014), for which she received a National Book Foundation “5 under 35” prize, among other honors. Tell Me How It Ends: An Essay in 40 Question, a nonfiction work published in 2017, won the American Book Award and was a National Book Critics Circle and Kirkus Prize finalist. Other nonfiction publications include “Maps of Harlem,” in Where You Are; and Sidewalks, a collection of essays that was named one of the 10 best books of 2014 by New York. Recent journal, newspaper, and radio work has appeared in the New York Times (“The Littlest Don Quixotes versus the World”), Guardian (“Frida Kahlo and the Birth of Fridolatry”), Outlook Interview Series, BBC World Services (“Undocumented Central American Minors”), Harper’s Trump special (“Terrorist and Alien”), and NPR’s This American Life (“The Questionnaire”), among others. Honors also include an Art for Justice Fellowship (2018–19) and residencies at Under the Volcano, USA-Mexico; Poets House, New York City; and Castello di Fosdinovo, Italy. She previously taught at Hofstra University, City College, the New York University MFA Writing Program in Paris, and Columbia University’s MFA Writing Program. Luiselli founded the Teenage Immigrant Integration Association at Hofstra in 2015, a program that offers continuous support to immigrant and refugee teens through one-on-one English classes, soccer games, and civil rights education. She is a member of PEN America and the Association of Writers and Writing Programs. She received her BA from UNAM in Mexico, and her MA and PhD from Columbia University. She has been at Bard since 2019.

Kelly Reichardt is a filmmaker whose latest film, Certain Women—starring Laura Dern, Michelle Williams, Kristen Stewart, and Lily Gladstone—premiered in 2016 at the Sundance Film Festival and won the top award at the London Film Festival. Her other films include: Night Moves (2013), Meek’s Cutoff (2010), Wendy and Lucy (2008), Old Joy (2006), and River of Grass (1994). Her film First Cow is currently in postproduction. Reichardt has received the United States Artists Fellowship, Guggenheim Fellowship, Anonymous Was a Woman Award, and Renew Media Fellowship. Her work has been screened at the Whitney Biennial (2012), Film Forum, Cannes Film Festival in “un certain regard,” Venice International Film Festival, Sundance Film Festival, Berlin International Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, and BFI London Film Festival. She has had retrospectives at the Anthology Film Archives, Pacific Film Archive, Museum of the Moving Image, Walker Art Center, and American Cinematheque Los Angeles. Reichardt received her BFA from the School of the Museum of Fine Arts, Tufts University. She has taught at Bard College since 2006.

An-My Lê is a photographer who was born in Saigon, Vietnam, in 1960, but left that country during the final year of the war in 1975 and subsequently found a home as a political refugee in the United States. She received an MFA from Yale University in 1993. Her film and photography examine the effects and representation of war and have included the documentation of (and participation in) Vietnam War reenactments in South Carolina. She has received fellowships from the MacArthur Foundation, Guggenheim Memorial Foundation, and New York Foundation for the Arts, and has had exhibitions at the Museum of Modern Art, the International Center of Photography, and MoMA PS1. An-My has been teaching at Bard since 1999.

Participating Artists Include Basel Abbas and Ruanne Abou-Rahme with Tashweesh, Mirna Bamieh/Palestine Hosting Society, Ali Chahrour, Rudi Goblen, Emily Jacir, Tania El Khoury, Jason de León, and Emilio Rojas

Live Arts Bard (LAB), the residency and commissioning program of the Fisher Center at Bard, announces Where No Wall Remains, the third edition of the acclaimed LAB Biennial, temporarily reconfiguring the Fisher Center as a site for innovative and interactive performances and installations (November 21-24). Co-curated by Lebanese live artist Tania El Khoury, a 2019 Soros Art Fellow, and Gideon Lester, the Fisher Center’s Artistic Director for Theater and Dance, this four-day festival considers the subject of borders: political borders, physical borders, historical and contemporary borders, borders seen and unseen, the borders of the body, borders between art forms, between performers and spectators, the borders that divide or define us, borders to be crossed, tested, resisted, destroyed, rebuilt, or transcended. Where No Wall Remains follows The House is Open (2014), which explored the relationship between visual and performing arts, and We’re Watching (2017), which examined contemporary states of surveillance. This third edition of the festival features nine new performances and installations by contemporary artists from the Middle East and Central America, commissioned by Live Arts Bard. Please see below for dates and times for each work.

As curators Tania El Khoury and Gideon Lester describe, “We started planning [this edition of the festival] January 2017, in the week that the Trump administration’s ‘Muslim ban’ came into effect, accompanied by increasingly xenophobic rhetoric and the specter of a wall along the US/Mexico line. It was inevitable that the current edition would focus on the subject of borders… The recent near-elimination of the American immigration program, together with an increase of human rights violations on the Mexican border, have made the subject of the festival even more grimly present than we could have imagined in 2017. Current US immigration policy has particularly affected people from the Middle East and Central America, and we therefore invited artists from those regions to join us in creating the festival.”

November 2019, the month of the festival, marks the 30^th anniversary of the fall of the Berlin Wall. One of the most significant and celebrated events of the 20^th century, at the time it seemed to promise a future of open borders and unification. Three decades later, the heady dreams of 1989 are very far from us; walls are being built up, not torn down. The title Where No Wall Remains, taken from a love poem by Rumi, is an invitation to imagine a utopian state of being—a fully unbordered world.

The festival is sited throughout the Fisher Center and beyond it, at the Bard Farm and in the nearby village of Tivoli, NY. The political potential of each work evokes many ideas and representations of borders: Emily Jacir’s letter to a friend, Rudi Goblen’s FITO, and Tania El Khoury’s Cultural Exchange Rate re-center the political debate around the personal, presenting autobiographical, familial, and neighborhood accounts of border crossing and navigating broader systems of oppression; Ali Chahrour’s Night brings the audience to the most intimate site of alienation, the human body, reminding us that love stories are also stories of borders and how we transcend them.

The entire program responds to the urgency of our political climates, not by merely advancing critique, but by also producing knowledge. Works such as Jason de León’s Hostile Terrain 94 (HT94), Mirna Bamieh/Palestine Hosting Society’s Menu of Dis/appearance, Emilio Rojas’ m(Other)s: Hudson Valley, and At those terrifying frontiers where the existence and disappearance of people fade into each other (part 2) (a site-specific video and sound installation by Basel Abbas and Ruanne Abou-Rahme with a performance by Tashweesh) engage dispossessed bodies, erased cultures, and forgotten artifacts. Rojas’ Naturalized Borders (to Gloria) redraws the Mexico-US border as an imagined line by communities who have historically asserted the intersection between labor rights, land sovereignty, and migration. We are reminded of the everyday price many people pay for borders: the marginalization of indigenous communities, the uncounted and unrecorded deaths at border zones, and the erasure of entire life worlds. The festival’s cover image, Samar Hazboun’s photograph of the wall in her town of Bethlehem, represents a global community of artists who refuse to be imprisoned by racism or cement.

The festival is the culmination of a two-year partnership with many programs at Bard (including Middle Eastern Studies, Latin American and Iberian Studies, Experimental Humanities, and the Human Rights Project), which have included undergraduate courses, public programs, and artist residencies.

The curators write, “We acknowledge the vast production that came before this program by artists and activists who are most affected by discriminatory border politics. We pay homage to them and hope to build on the ongoing discussion and mobilization on borders with this timely and inspiring body of work.”

The themes and artists of Where No Wall Remains are further explored in the digital realm via the festival blog (nowall.bard.edu), which includes a syllabus, interviews with the artists, digital resources, and more.

Where No Wall Remains will take place at the Fisher Center over four days, Thursday, November 21-Sunday, November 24, 2019. Admission to several events and installations is free; tickets prices for paid events are listed below, and are now available for sale. All tickets can be purchased at to fishercenter.bard.edu or 845.758.7900. The Fisher Center at Bard Arts is located at 60 Manor Avenue, Annandale-On-Hudson, NY, 12504. A round-trip coach from New York City will be available on November 24.

Where No Wall Remains – Schedule of Events

Basel Abbas and Ruanne Abou-Rahme with Tashweesh
At those terrifying frontiers where the existence and disappearance of people fade into each other (part 2)
LAB Commission / World Premiere
Installation: November 21, 6-9pm; November 22, 7:30-9pm; November 23, 1-4pm, 5:30-7:30pm; November 24, 3-6pm
Performances: November 22, 6:30pm; November 23, 4:30pm and 8pm; November 24, 2pm & 6:30pm
Resnick Studio, Fisher Center
Tickets: $15

At those terrifying frontiers where the existence and disappearance of people fade into each other (part 2) brings together a site-specific video and sound installation by Palestinian-American artists Basel Abbas and Ruanne Abou-Rahme and a new performance by Tashweesh, an improvised constellation that brings the artists together with musician/performer Muqata’a. Combining their different practices in a joint performance, using sound, music, and images, the result is an exploration of the collision between returns, erasure, and disruption. 

From the returns of the land and stubborn vegetation that does not die, to artifacts that are reactivated as living matter, figures that return in virtual form, and disruptive bodies that keep reappearing on borders. Both the installation and performance address the intentional erosion of bodies, land, and structures in different forms, but also their re-appearance in and returns to spaces where they “should not be.” These projects invite us to consider the forms of entanglement between the destruction of bodies and the erasure of images, and the conditions under which these same bodies and images might once again reappear.

Mirna Bamieh / Palestine Hosting Society
Menu of Dis/appearance
LAB Commission / World Premiere
November 21-23, 7:30pm
Presented at and in partnership with Murray’s (73 Broadway, Tivoli, NY, 12583)
Tickets: $35, including dinner

In its first dinner performance in the United States, Palestine Hosting Society presents an expanded approach to “Palestinianess” that trespasses borders and geographies. Through a menu that brings together dishes from Palestinian cities and villages, alongside others that were preserved in Palestinian refugee camps outside Palestine, and those that narrate inter-generational food habits and memory of the Palestinian diaspora, especially in the United States. Menu of Dis/appearance narrates stories about time, history, and parts of ourselves that we might have allowed to slip away.

Menu of Dis/appearance is a dinner performance that invites the audience on a journey through a selection of dishes that shares Palestine Hosting Society’s investigation and unearthing of traditional Palestinian cuisine. Some of these dishes have been forgotten, their names rendered mostly abstract to the current generation of Palestinians. Being denied a state of their own, Palestinians use food as a means to express an identity that is constantly undermined. Life under occupation atrophied this connection to food, through imposing restriction policies over food and water resources, inflicting control on wild plant foraging, as well as creating dissonance by showcasing Palestinian dishes as Israeli. Over the years, such measures created a kitchen that is dispossessed, making many Palestinian traditional dishes disappear, or temporarily withdraw.

Ali Chahrour
Night
LAB Commission / US Premiere
November 22, 7:30pm; November 23, 3pm; November 24, 4pm
LUMA Theater, Fisher Center
Tickets: $25

“The Catastrophe is a violent crisis during which the subject, experiencing the amorous situation as a definitive impasse, a trap from which he can never escape, sees himself doomed to total destruction.” — Roland Barthes, A Lover’s Discourse: Fragments
                                               
Night, from Lebanese choreographer Ali Chahrour, is a dance concert inspired by the dense archive of love and romance in classical Arabic poetry, and from contemporary stories of lovers and their cruel separation. The work references stories from the cultural memory of the Levant and Mesopotamia about the fate of lovers who challenged social and religious systems, and whose bodies were punished and sentenced to suffer the distance of separation as well as the hope of impossible reunions.
                                               
The performance records the vicissitudes of lovers and their resistance, leading up to the moment when they fall and fade away. The exhausted body succumbs, and with it falls every action and instrument/tools that the performers had carried throughout the show. The fall reveals the fragility of the lover/performer, and the frailty of all the methods and tools at his disposal. The stage becomes the battlefield after the battle, where the audience has just witnessed the death, or rather, the birth of its heroes. 

Night is co-commissioned by the Fisher Center, and co-produced by Zoukak Theatre Company, the Arab Arts Focus with the support of Stiftelsen, Studio Emad Eddin and Ford Foundation, Fonds de dotation du Quartz (Brest), and the Zurich Theatre Spektakel, with additional support from Fabrik Potsdam, and Kunstfest Weimar. Night was developed, in part, at the 2018 Sundance Institute Theatre Lab in Morocco with continued support through its Post-Lab Support Initiative.

Rudi Goblen
FITO
LAB Commission / World Premiere
November 23, 9pm; November 24, 7:30pm
Sosnoff Stage Right, Fisher Center
Tickets: $15

After 30 years in the United States, it is the day of Fito’s naturalization ceremony.  As he raises his hand for the Oath of Allegiance, he is transported to a composition of musical snapshots that make up his tapestry in this country.  Some jaded, some moot, some filled with bodies of water, some disheartening—but none ever debilitating enough to keep him from chasing his dream to be the first American citizen in his family. FITO is an interactive concert-play incorporating songs, stories, and spoken word poems that meld to paint a soundscape of what it can take to be accepted in your own home, by your own people—or yourself.

Emily Jacir
letter to a friend
LAB Commission / World Premiere
November 21, 6-9pm; November 22, 6-9:30pm; November 23, 1-9:30pm; November 24, 1-8pm
Sosnoff Stage Left, Fisher Center
Free

The artist asks a friend to start an investigation and recounts in minute detail various aspects of her home and street in Bethlehem—a site marked by movement, migrations, survival, and war. 

Tania El Khoury
Cultural Exchange Rate
LAB Commission / US Premiere
November 21-22, 6pm, 7pm, 8pm; November 23, 1:30pm, 2:30pm, 3:30pm, 4:30pm, 7pm, 8pm; November 24, 1pm, 2pm, 3pm, 5:30pm, 6:30pm
Sosnoff Backstage, Fisher Center for the Performing Arts
Tickets: $15

The cruelest of borders are invisible to the eye and present in everyday life: the death traps set within a moving body of water and the concealed militarization of faraway border villages. 

Cultural Exchange Rate is an interactive live art project in which artist Tania El Khoury shares her family memoirs of life in a border village between Lebanon and Syria; marked by war survival, valueless currency collections, brief migration to Mexico, and a river that disregards the colonial and national borders. 

The audience is invited to immerse their heads into one family’s secret boxes to explore the sounds, images, and textures of traces of more than a century of border crossings.
 
Cultural Exchange Rate is based on the artist’s recorded interviews with her late grandmother, oral histories collected in her village in Akkar, the discovery of lost relatives in Mexico City, and the family’s attempt to secure dual citizenship.

Jason de León
Hostile Terrain 94 (HT94)
November 21, 6-9pm; November 22, 6-9:30pm; November 23, 1-9:30pm; November 24, 1-8pm
Weis Atrium
Fisher Center
Free

Hostile Terrain 94 (HT94) is a prototype of a participatory political art installation organized by the Undocumented Migration Project that will launch in the fall of 2020 in 150 locations around the globe simultaneously. A 20-foot-long map of the Arizona/Mexico border is populated with 3,199 handwritten toe tags that contain information about those who have died while migrating including name (if known), age, sex, cause of death, condition of body, and location. Some tags contain QR and Augmented-Reality codes that link to content related to migrant stories and visuals connected to immigration that can be accessed via cellphone. HT94 is intended to memorialize and bear witness to the thousands who have died as a result of Prevention Through Deterrence. 

The most crucial (and interactive) aspect of the installation are the audience members committing their time and energy to meticulously fill out the death details for all 3,199 toe tags and then being assisted in placing these tags in the exact locations on the map where those individuals were found.

Emilio Rojas
Naturalized Borders (to Gloria)
LAB Commission / World Premiere
m(Other)s: Hudson Valley
Naturalized Borders Bard Farm Walk: November 21-22, 3:30pm; November 23, 1:30pm
Naturalized Borders Return to the Land Farm Ritual: November 24, 2:30-4:30
Naturalized Borders & m(Other)s (Installation): November 21, 6-9pm; November 22, 6-9:30pm; November 23, 1-9:30pm; November 24, 1-8pm
LAB Commission / World Premiere
Weis Atrium, Fisher Center
and Bard Farm
Free

Naturalized Borders (to Gloria):

“The U.S.-Mexican border es una herida abierta where the Third World grates against the first and bleeds.” — Gloria Anzaldúa, Borderlands/La Frontera: The New Mestiza, 1987.
 
Naturalized Borders (to Gloria) is the first iteration of multifaceted, interactive land art and community-based project, including a 72-foot long line of indigenous crops (corn, beans and squash, known as “the three sisters”) planted in the shape of the US/Mexican border line on the Bard Farm; the harvesting, sharing, and clearing of the crop and land; a mobile paleta cart-turned-drawing studio upon which persons of any background are invited to memorialize real or imagined borders; and the documentation and archive from various stages of the project. Continuing the legacy of Chicana feminist writer Gloria Anzaldua, the work seeks to unearth histories of immigration, labor rights, borders, land sovereignty and systemic oppression. 

Naturalized Borders (to Gloria) was created in collaboration with the Bard Farm (Rebecca Yoshino, Farm Coordinator) and The Center for the Study of Land, Air and Water, with the participation of students Mary Elizabeth Klein Meghan Mercier, Kaitlyn McClelland, Gabrielle Reyes, Alexi Piirimae, Midori Barandiaran, and Austin Sumlin.

m(Other)s: Hudson Valley:

m(Other)s: Hudson Valley is a series of video portraits of immigrant women, both documented and undocumented, holding their first-generation children. Inspired by the “hidden mother” photographs common from the advent of photography up until the 1920s, a standard practice requiring the mother to hold the child still while being covered and remaining invisible in the interest of foregrounding the child, these portraits seek to connect the political and social situation of women at the turn of the 20th century with the invisibility of the labor of immigrant women today. 

Reading Room

The Where No Wall Remains Reading Room
Organized by Curatorial Fellows Sukanya Baskar CCS ‘20, Thea Spittle CCS ‘19, and Triston Tolentino ‘18
Fridays, September 27 through November 15, 1 pm-4 pm
November 21-24 during Biennial open hours
New Annandale House 
Free and open to the public

The resources from the Biennial syllabus can be accessed at the Reading Room at the New Annandale House on the Bard College Campus. Open to the public, the Reading Room provides a space for individual and communal engagement with the discourse of Where No Wall Remains.

A schedule of special events at the Reading Room, including public talks, readings, and screenings, will be announced and posted here and on the blog.
 
The Reading Room is presented in association with Bard’s Center for Experimental Humanities.
 
New Annandale House, Home of the Center for Experimental Humanities
1399 Annandale Road
Annandale-on-Hudson, NY 12571

Funding Credits

Where No Wall Remains is supported by grants from the Ford Foundation, Arab Fund for Arts and Culture, Thendara Foundation, John D. and Catherine T. MacArthur Foundation, the Consortium on Forced Migration, Displacement and Education, and The Vilcek Foundation. Live Arts Bard is made possible by generous support from members of the Live Arts Bard Creative Council and Advisory Board of the Fisher Center at Bard.

About Tania El Khoury

Tania El Khoury is a live artist creating installations and performances focused on audience interactivity and concerned with the ethical and political potential of such encounters. Her work has been translated and presented in multiple languages in 32 countries across six continents, in spaces ranging from museums to cable cars to the Mediterranean Sea. She is a 2019 Soros Art Fellow and the recipient of the 2017 International Live Art Prize, the 2011 Total Theatre Innovation Award and Arches Brick Award. Tania holds a PhD in Performance Studies from Royal Holloway, University of London. In 2018, a survey of her work entitled ear-whispered: works by Tania El Khoury took place in Philadelphia organized by Bryn Mawr College and FringeArts Festival and funded by the Pew Centre for Arts and Heritage. Tania is affiliated with Forest Fringe in the UK and is the co-founder of the urban research and performance collective Dictaphone Group in Lebanon. 

About Gideon Lester

Gideon Lester is Artistic Director for Theater & Dance at the Fisher Center at Bard, where he founded Live Arts Bard, the Fisher Center’s residency and commissioning program for the performing arts.  A Tony Award-winning artistic director, dramaturg, creative producer, and educator, he is also Director of Bard’s undergraduate Theater and Performance Program. From 2010 till 2018 he was co-curator of Crossing the Line, a cross-disciplinary arts festival in New York City. From 1997 to 2009 he worked at the American Repertory Theatre in Cambridge, Massachusetts, as Acting Artistic Director, Associate Artistic Director, and Resident Dramaturg. He also chaired Harvard University’s MFA program in dramaturgy at the A.R.T. Institute for Advanced Theatre Training, and has taught at Harvard College and Columbia University’s School of the Arts.

About the Artists

At those terrifying frontiers where the existence and disappearance of people fade into each other (part 2)

Basel Abbas and Ruanne Abou-Rahme (b.1983) work together across a range of sound, image, text, installation and performance practices. Their practice, largely research based, is engaged in the intersections between performativity, political imaginaries, the body and virtuality, and investigates the political, visceral, material possibilities of sound, image, text and site, taking on the form of multimedia installations and live sound/image performances. Solo presentations include Kunstverein Hamburg (Hamburg), Krannert Art Museum (Illinois), Alt Bomonti (Istanbul), ICA (Philadelphia), Office for Contemporary Art (Oslo), Carroll/Fletcher (London), Akademie Der Kuenste Der Welt (Cologne), New Art Exchange (Nottingham) and Delfina Foundation (London). Selected group exhibitions include Kunstgebaude Stuttgart (Stuttgart), Portikus (Frankfurt),  The Mistake Room (Los Angeles), SeMa Biennale (Seoul), Kunsthalle Wien (Vienna), Museum Of Modern Art (Warsaw), ICA (London), the 12^th Sharjah Biennale, the 31^st São Paulo Biennial; the 10^th Gwangju Biennale; the 13th Istanbul Biennial; the 6th Jerusalem Show; HomeWorks 5 (Beirut); and Palestine c/o Venice at the 53rd Venice Biennale. They were fellows at Akademie der Kunste der Welt in Cologne in 2013 and artists in residence at the Delfina Foundation, London in 2009. They are recipients of the Sharjah Biennale Prize in 2015 and The Abraaj Prize in 2016. Their most recent publication And Yet My Mask Is Powerful is published by Printed Matter in New York. 
Muqata'a is a musician and MC who creates music from sampled material, field recordings and electronic devices. The results range from hip-hop beats to glitch. His albums include Inkanakuntu (2018), Dubt Al-Ghubar (2017), La Lisana Lah(2017) and Hayawan Nateq (2013). Muqata’a is also the co-founder of the Ramallah Underground collective (2003–2009) and Tashweesh, a sound and image performance group in collaboration with artists Basel Abbas and Ruanne Abou-Rahme.  He has composed several international and local film scores, as well as dance theater performances, and is now working on different collaborative and solo projects. Upcoming and recent performances include Sonar Festival (Barcelona), Boiler Room (Ramallah), CTM Festival (Berlin).  His most recent album Inkanakuntu is out on Discrepant records.
Menu of Dis/appearance
Palestine Hosting Society is a live art project that explores traditional food culture in Palestine, especially those that are on the verge of disappearing. The project brings these dishes back to life over dinner tables, walks, and various interventions. Palestine Hosting Society is founded and run by artist and cook Mirna Bamieh, as an extension of her art practice that often looks at the politics of disappearance, and memory production. Mirna creates artworks that unpack social concerns and limitations in contemporary political dilemmas, and reflect on the conditions that characterize Palestinian communities. To date, Palestine Hosting Society has created several projects, including Family Dinners, Our Nabulsi Table, Our Jerusalem Table, A Wondering in Flavors: The Old City of Jerusalem, a table, a tour and a map, The Wheat Feast, The Edible Wild Plants of Palestine Table, Our Gaza Table, and Food Walks. After an intensive research period for each project, the collective creates a menu that is shared over one long table for 40-60 guests, with dishes carefully selected to create spaces of reflection upon socio-political realities, attitudes, and historical practices, and even the suppressed elements of history.
Night

Ali Chahrour is a choreographer, dancer, and a graduate of the theatre department at The Lebanese University. Influenced by techniques from several European countries, he studies contemporary dance in the Arab world and movement that is related to society’s memory and its local circumstances that contribute to creating a research about  a local quality contemporary dance, whose techniques and problematics are inspired by its surroundings and history. His work examines the relationship between dance and the body, and the religion and the sacred, relying on the Islamic and Shiite religious rituals and practices, especially in his recent trilogy: Fatmeh, Leila’s Death and May he rise and smell the fragrance. 

FITO

Rudi Goblen is a writer, dancer, actor, and music producer. He was commissioned by Miami Light Project to create the solo dance theatre performances Insanity Isn’t, Fair Welling, and PET. He is also known as an acclaimed B-Boy. Alongside his award-winning crew Flipside Kings, he has toured internationally, competing, adjudicating, and teaching. Rudi is a member of Teo Castellanos/D-Projects, a contemporary dance/theater company that fuses world arts and culture while examining social issues through performance. With D-Projects, Rudi toured internationally in Scratch & Burn, a meditation on the war in Iraq; and FAT BOY, a project exposing world hunger amid American consumerism and waste. Rudi is a recipient of the Future Aesthetics Artist Re-grant (FAAR) funded by the Ford Foundation in conjunction with the Future Aesthetics Cohort, the Miami-Dade County’s Choreographers Award (2013, 2018), and a FEAST Miami Grant for his book of poems and artwork A Bag of Halos and Horns. He has trained and worked with DV8 Physical Theater, Cirque Du Soleil, and is a founding member of Rosie Herrera Dance Theatre. He has released five instrumental albums, and is currently attending the Yale School of Drama for an MFA in Playwriting.

letter to a friend

Emily Jacir’s work— as poetic as it is political and biographical—investigates histories of colonization, exchange, translation, transformation, resistance, and movement. Jacir has built a complex and compelling oeuvre through a diverse range of media and methodologies that include unearthing historical material, performative gestures, and in-depth research. She has been actively involved in education in Palestine since 2000 and deeply invested in creating alternative spaces of knowledge production internationally. She is the Founding Director of Dar Yusuf Nasri Jacir for Art and Research and was recently the curator the Young Artist of the Year Award 2018 at the A. M. Qattan Foundation in Ramallah, We Shall Be Monsters. Jacir is the recipient of several awards, including a Golden Lion at the 52nd Venice Biennale (2007); a Prince Claus Award from the Prince Claus Fund in The Hague (2007); the Hugo Boss Prize at the Guggenheim Museum (2008); the Alpert Award (2011) from the Herb Alpert Foundation; and the Andrew W. Mellon Foundation Rome Prize Fellowship at the American Academy in Rome (2015). Recent solo exhibitions include the Irish Museum of Modern Art, Dublin (2016-17); Whitechapel Gallery, London (2015); Darat il Funun, Amman (2014-2015); Beirut Art Center (2010); Guggenheim Museum, New York (2009).

Cultural Exchange Rate

Tania El Khoury (See Above)

Hostile Terrain 94 (HT94)

Jason de León is Professor of Anthropology and Chicana/o Studies at the University of California, Los Angeles and Director of the Undocumented Migration Project, a non-profit research-art-education collective focused on documenting and understanding the violent social process of clandestine movement between Latin America and the United States. He is the co-creator of the exhibition State of Exception/Estado de Excepción that focused on the material traces of undocumented movement across the Sonoran Desert of Arizona. His first book The Land of Open Graves: Living and Dying on the Migrant Trail was published by the University of California Press in 2015 and was most recently awarded the J.I. Staley Prize from the School for Advanced Research. De León is currently writing his second book (tentatively titled Soldiers and Kings), a photoethnography about the daily lives of Honduran smugglers crossing Mexico. He is a 2017 MacArthur Fellow.

Naturalized Borders (to Gloria) & m(Other)s: Hudson Valley

Emilio Rojas is a multidisciplinary artist working primarily with the body in performance, using video, photography, installation, public interventions, and sculpture. He holds an MFA in Performance from The School of the Art Institute of Chicago and a BFA in Film from Emily Carr University in Vancouver, Canada. Rojas identifies as a NAFTA baby, (born in Mexico City, spent his formative artistic years in Canada, and is currently based in Chicago). As a queer latinx immigrant with indigenous heritage, it is essential to his practice to engage in the postcolonial ethical imperative to uncover, investigate, and make visible and audible undervalued or disparaged sites of knowledge, narratives, and individuals. He utilizes his body in a political and critical way, as an instrument to unearth removed traumas, embodied forms of decolonization, migration and poetics of space. His research-based practice is heavily influenced by queer and feminist archives, border politics, botanical colonialism, and defaced monuments. His work has been exhibited in exhibitions and festivals in the US, Mexico, Canada, Japan, Austria, England, Greece, France, Germany, Italy, Spain and Australia, as well as institutions like The Art Institute and the Museum of Contemporary Art in Chicago, Ex-Teresa Arte Actual and Museo Tamayo in Mexico City, The Vancouver Art Gallery, The Surrey Art Gallery, The DePaul Art Museum, and The Botin Foundation. He is represented by Jose de la Fuente in Spain, and Gallleriapiu in Italy.
 
https://fishercenter.bard.edu/liveartsbard/

The 2019 LightField Arts exhibit, Photo + Synthesis, features Artist in Residence Tanya Marcuse among seven artists selected to make or exhibit work focusing on the Hudson River Valley and climate change. The exhibition will be on view at Hudson Hall in Hudson, New York, October 12 to December 21, 2019.

The show draws a geographic line around the Hudson River Valley. In part this is to prompt a fresh look at the mythology of the Valley’s art, ecology, and history, but through the lens of our Anthropocene era. Works on exhibit include contemporary landscape photography, mid-19th century landscape painting, and data visualization art about tree ring science.

Participating artists contribute newly commissioned and existing work. The roster includes: Sarah Bird, Christopher Griffith, Genevieve Hoffman, Tanya Marcuse, Daniel McCabe, Laura Plageman, and paintings by Hudson River School artists. Alongside these works, LightField exhibits the art produced in its annual Young Photographers Workshop.
 
https://www.lightfield.vu/2019-artists

Two Bard College faculty members have been named 2019 MacArthur Fellows. Jeffrey Gibson, artist in residence in the Studio Arts Program and Valeria Luiselli, writer in residence in the Written Arts Program, are both recipients of this prestigious “genius grant” awarded by the John D. and Catherine T. MacArthur Foundation.

The MacArthur Fellowship is a no-strings-attached award to extraordinarily talented and creative individuals as an investment in their potential. There are three criteria for selection of Fellows: exceptional creativity, promise for important future advances based on a track record of significant accomplishments, and potential for the Fellowship to facilitate subsequent creative work. Recipients may be writers, scientists, artists, social scientists, humanists, teachers, entrepreneurs, or those in other fields, with or without institutional affiliations. Fellows may use their award to advance their expertise, engage in bold new work, or, if they wish, to change fields or alter the direction of their careers. Although nominees are reviewed for their achievements, the Fellowship is not a lifetime achievement award, but rather an investment in a person’s originality, insight, and potential. Indeed, the purpose of the Fellowship is to enable recipients to exercise their own creative instincts for the benefit of human society. MacArthur Fellows receive $625,000 stipends that are bestowed with no conditions; recipients may use the money as they see fit. Eleven Bard faculty members have previously been honored with a MacArthur Fellowship.



Jeffrey Gibson grew up in major urban centers in the United States, Germany, Korea, and England. He is a Choctaw-Cherokee artist who incorporates his heritage into his multi-disciplinary work, which includes abstract sculptures, paintings, and prints. Gibson earned his Master of Arts in painting at the Royal College of Art, London, in 1998 and his Bachelor of Fine Arts in painting from the School of the Art Institute of Chicago in 1995. Gibson has work in the permanent collections of the Denver Art Museum, Museum of Fine Arts, Boston, Smithsonian Institution's National Museum of the American Indian at the Smithsonian Institution, National Gallery of Canada, Crystal Bridges Museum of American Art, and more. Recent solo exhibitions include Jeffrey Gibson: Like a Hammer at the Seattle Art Museum in Washington and Madison Museum of Art in Wisconsin and Jeffrey Gibson: This is the Day at Blanton Museum of Art in Austin, Texas. Gibson is a past TED Foundation Fellow, and a Joan Mitchell Grant recipient. He lives and works in New York.



Valeria Luiselli is an award-winning writer of fiction and nonfiction whose books are forthcoming and/or published in more than 20 languages. She is the author of the novels Lost Children Archive (2019); The Story of My Teeth (2015), named Best Book in Fiction by the Los Angeles Times, one of the best books of the year by the New York Times, and a National Book Critics Circle finalist; and Faces in the Crowd (2014), for which she received a National Book Foundation “5 under 35” prize, among other honors. Tell Me How It Ends: An Essay in 40 Questions, a nonfiction work published in 2017, won the American Book Award and was a National Book Critics Circle and Kirkus Prize finalist. Other nonfiction publications include “Maps of Harlem,” in Where You Are, and Sidewalks, a collection of essays that was named one of the 10 best books of 2014 by New York. Recent journal, newspaper, and radio work has appeared in the New York Times (“The Littlest Don Quixotes versus the World”), Guardian (“Frida Kahlo and the Birth of Fridolatry”), Outlook Interview Series, BBC World Services (“Undocumented Central American Minors”), Harper’s Trump special (“Terrorist and Alien”), and NPR’s This American Life (“The Questionnaire”), among others. Honors also include an Art for Justice Fellowship (2018–19) and residencies at Under the Volcano, USA-Mexico; Poets House, New York City; and Castello di Fosdinovo, Italy. She previously taught at Hofstra University, City College, the New York University MFA Writing Program in Paris, and Columbia University’s MFA Writing Program. She founded the Teenage Immigrant Integration Association at Hofstra in 2015, a program that offers continuous support to immigrant and refugee teens through one-on-one English classes, soccer games, and civil rights education. She is a member of PEN America and the Association of Writers and Writing Programs. She was born in Mexico City and currently lives in New York City.
https://www.macfound.org/fellows/1036/

For over 30 years, Bard MFA chair and Bard College alum Nayland Blake '82 has been a critical figure in American art, working between sculpture, drawing, performance, and video. No Wrong Holes marks the most comprehensive survey of Blake’s work to date and their first solo institutional presentation in Los Angeles.
https://www.theicala.org/en/exhibitions/67-no-wrong-holes-br-thirty-years-of-nayland-blake

Conservatory Advanced Performance Studies alumnus Tomoki Park and second-year Vocal Arts Program student Margaret Tigue recently performed at Tanglewood in Lenox, Massachusetts, as part of the Tanglewood Music Center's Festival of Contemporary Music. In a concert dedicated to former Tanglewood Music Center director of contemporary music Oliver Knussen, Tomoki Park's "sensitive" performance of Knussen's distinctive "Prayer Bell Sketch" was one of the highlights of the program. Margaret Tigue offered a very fine performance as a soprano soloist in Knussen's "Whitman Settings."
https://www.nytimes.com/2019/08/15/arts/music/tanglewood-boston-symphony.html

Globally recognized modern dancer and Bard alumnus Ainesh Madan ’15 observes that art comes to the rescue of the mundane. In this interview, he talks about the importance of a daily artistic practice, his most recent work focusing on his return to India after eight years in New York, and pieces he choreographed at Bard now coming to fruition. “Once I went to Bard College,” he tells the Hindu. “I started discovering my artistic side. I dedicated the majority of my day in the studio, even when I was not in class. I made (choreographed/composed) a lot of work. Once the studios were closed, I would come back to my room and work on music.”
https://www.thehindu.com/entertainment/dance/dance-with-him/article28772631.ece

President Botstein talks about the U.S. premiere of Erich Korngold’s The Miracle of Heliane, and why Bard is the perfect place to revive overlooked works.
 

"Bard is a great place because we are not interested in commercial performance. We want to make a contribution to knowledge and scholarship. We are interested in the future of music both in new music but also in the past.

If the past is only about 20 operas, then the future of the art form is going to be condemned. The way you tell the story of the past influences the way you tell the future. Our mission is not to compete with anyone but to show different repertoire." —Leon Botstein

http://operawire.com/q-a-leon-botstein-on-the-american-premiere-of-das-wunder-der-heliane-the-future-of-opera/

The Bard Music Festival turns its focus on Erich Wolfgang Korngold, the preeminent film composer of the 1930s and ’40s whose art music long went overlooked. August 9–11 and 16–18 at the Fisher Center.

By Barrymore Laurence Scherer

Now that film music enjoys an unequivocal presence on contemporary orchestral programs, it’s no surprise that the Bard Music Festival, that bastion of imaginative programming, is marking its 30th anniversary season by turning to a figure somewhat unfamiliar as a “serious” composer: Erich Wolfgang Korngold (1897–1957). Korngold was arguably the pre-eminent film composer during Hollywood’s “Golden Age.” Yet, by the time he died, his work there during the 1930s and ’40s had effectively obliterated the exceptional stature he had achieved in Europe’s concert halls and opera houses.
https://www.wsj.com/articles/serious-works-from-a-hollywood-composer-11564518246

Set in an unnamed totalitarian state, The Miracle of Heliane (Das Wunder der Heliane) features an intricate, erotic triangle between a ruthless despot, The Ruler; his beautiful and neglected wife, Heliane; and a young, messianic Stranger. An allegorical tale about the destruction of a dictatorship by a woman, Heliane premiered to great acclaim in Hamburg in 1927, and remains extraordinarily relevant today. This new production is directed by Christian Räth, with sets and costumes by Esther Bialas, both making their SummerScape debuts. The consistently excellent cast includes the stunning Lithuanian soprano Ausrine Stundyte in an all-too-rare U.S. appearance alongside rising star tenor Daniel Brenna, and the heralded bass-baritone Alfred Walker. Opening Friday, July 26, at the Fisher Center.
https://fishercenter.bard.edu/events/heliane/

On Sunday, July 28, at 6 pm, the Spiegeltent at Bard’s Fisher Center will host a showcase of Bard alumni/ae making their mark on the music scene. Bardians near and far come together for a celebration led by Bard alumni/ae musicians, with performances by: Odetta Hartman ’11; Bree and the Reeds, featuring Brianna Reed ’12; Raina Sokolov-Gonzalez '16; and a new musical project by Dan Vernam ’13, Wyatt Bertz ’13, and Joe Tisdall ’13; with Alex Friedman ’12, Jesse Featherstone ’14, Luke McCrosson ’16, Zach Berns, and more.
https://fishercenter.bard.edu/events/still-thinking/

The Center for Curatorial Studies, Bard College (CCS Bard) is pleased to announce that distinguished scholar, curator, and educator Nana Adusei-Poku will join CCS Bard as senior academic adviser and Luma Foundation Fellow. In this role, Adusei-Poku will collaborate with the staff and faculty to develop and advise on the curriculum, which centers around the study of contemporary art, the institutions and practices of exhibition-making, and the theory and criticism of the visual arts. She will also work with Executive Director Tom Eccles, Chief Curator and Graduate Program Director Lauren Cornell, and faculty to develop the curatorial and publishing program at CCS Bard, including symposia, conferences, performance, and exhibitions at the Center for Curatorial Studies and in collaboration with partners, including departments across Bard College and contemporary art institutions.

“Nana Adusei-Poku is an exceptional scholar, curator, and teacher. Her intellectual rigor and commitment to original research will be invaluable to our program and to future classes of CCS Bard graduate students,” said Cornell. Previously, Adusei-Poku served as visiting professor at The Cooper Union, and as a guest lecturer in the Department of Art and Media at the University of the Arts, Zurich. She was research professor for visual cultures (2015–17) and for cultural diversity (2013–14) at the Hogeschool Rotterdam with affiliation to the Piet Zwart Institute and Willem de Kooning Academy. She received her PhD from Humboldt University Berlin following degrees in African and gender studies, and in media and communications at Goldsmiths College London. She has also been a visiting scholar at the University of Ghana, Legon, London School of Economics, and Columbia University, New York.

She is the curator of the program Longing on a Large Scale in conjunction with Todd Gray's exhibition Eucledian Gris Gris at Pomona College Museum of Art, which starts in September 2019 and will run until May 2020. In 2018, Adusei-Poku curated the immersive event performance of No-thingness at the Academy of Arts Berlin and, in 2015, she co-curated the exhibition NO HUMANS INVOLVED at Witte de With Center for Contemporary Art Rotterdam. She has published in artist monographs about Leslie Hewitt, Wendelien van Oldenborgh, and Todd Gray, among others, and in publications such as e-flux, multitudes, Le Journal des Laboratoires, Kunstforum International, as well as peer-reviewed journals such as Nka Journal for Contemporary African Art, Feministische Studien, and Dark Matter.

Adusei-Poku replaces Jeannine Tang, who joins Eugene Lang College at The New School as assistant professor in modern and contemporary art history, after nearly a decade at CCS Bard. In 2018, Tang co-curated The Conditions of Being Art: Pat Hearn Gallery and American Fine Arts. Co, (1983–2004) at the Hessel Museum of Art, a project that exemplified her commitment to building groundbreaking scholarship in contemporary art and curatorial history.
 

General information on the Center for Curatorial Studies at Bard College can be found at:
https://ccs.bard.edu/

The Bard Graduate Center (BGC) and U’mista Cultural Centre have launched an exhibition website that explores the hidden histories and multiple legacies of Franz Boas’s The Social Organization and the Secret Societies of the Kwakiutl Indians. It is part of an international project to create a new critical edition of the volume. BGC also hosted an exhibition of The Story Box at its New York City gallery this year.
 
http://exhibitions.bgc.bard.edu/storybox/

The Milton Avery Graduate School of the Arts at Bard College (Bard MFA) presents Say Ever Moves, the class of 2020 thesis presentation, which brings together works by MFA candidates in the disciplines film/video, music/sound, painting, photography, sculpture, and writing. The exhibition will be on view from July 21 through July 28 at the Bard College Exhibition Center / UBS Gallery, 29 O’Callaghan Lane, Red Hook, New York.

An opening reception takes place on Saturday, July 20, 1–4 p.m. Evening presentations of time-based works, including performances, readings, and screenings, will be held at several locations on the Bard College campus during the week of July 22. All presentations are free and open to the public.

The Bard MFA thesis presentations feature works by Luis Arnias, Georgian Badal, Jobi Bicos, Lauren Burrow, Gwenan Davies, Omari Douglin, Carolina Fandiño Salcedo, Carolyn Ferrucci, Marco Gomez, Colleen Hargaden, Evie K. Horton, Christiane Huber, Rachel James, Jamie Krasner, Nawahineokala'i Lanzilotti, Dani Leder, Isabel Mallet, Carla Jean Mayer, Lee Nachum, Brandon Ndife, Diane Severin Nguyen, Miko Revereza, Alicia Salvadeo, Robert Sandler, Jaxyn Randall, Estelle Srivijittakar, Jordan Strafer, Daniel Sullivan, Christopher van Ginhoven Rey, Jessica Wilson, and Alex Zandi. The exhibition is coordinated by Marisa Espe ’20, a graduate student at the Center for Curatorial Studies at Bard College (CCS Bard).

The Bard College Exhibition Center will be open Monday through Friday, 11 a.m. – 5 p.m., and Saturday/Sunday, 1–5 p.m. For the opening reception, a return shuttle service will be offered from Rhinecliff Amtrak station. Schedules, accessibility information, and more are available below. Parking is available in the Saint Christopher’s Church lot at 7411 South Broadway or on Garden Road.
https://www.bard.edu/mfa/thesis/

Oklahoma!, directed by Daniel Fish and starring Patrick Vaill ’07 as Jud, earned eight Tony nominations, and won best musical revival and best featured actress. Its Broadway run has been extended through January 19, 2020 and national tour will begin in Fall 2020.

by Jennifer Wai-Lan-Huang and James Rodewald ’82 in the Bardian, Summer 2019

Twelve years ago, JoAnne Akalaitis, director of the Theater Program, invited Daniel Fish to direct a student production. Patrick Vaill ’07 recalls Akalaitis telling Fish he could choose any play he wanted. “Over time it was revealed that the show would be Oklahoma!” says Vaill. “There was a lot of excitement. People were surprised.”

The surprising choice, in Fish’s hands, meshed perfectly with the ethos of the Theater Program under Akalaitis. “She fostered an incredibly vibrant, hardworking, interested group of students who just loved doing this work together,” says Vaill. “It was thrilling to be a part of.” Fish reimagined the patriotic, upbeat 1943 Rodgers and Hammerstein original as a morality tale for our time. Three-quarters of a century ago, America was at war, and it responded to the musical’s celebration of pastoralism, the charm of country folk, and the idea that “Everythin’s goin’ my way.” Since then, our tribes have become less homogeneous, the tension between the haves and the have nots continues to increase, and guns are less icons of the frontier than instruments of violence and terror. The realism, the immersion, and the sensitivity of the acting in Fish’s Oklahoma! give modern audiences—who hear the very same words and tunes—a very different experience than theatergoers of the ’40s had.

Auditions for the student production were held just before winter intersession. Vaill had hoped for the part of the handsome cowboy, Curly, who gets his sweetheart, Laurey. He was cast instead as Jud Fry, the brooding farmhand, whose own desires for Laurey are violently thwarted. “The idea was that we were all—the audience, the actors—in a room together to hear and to tell this story,” says Vaill. “When we performed it in Theater Two [now LUMA Theater] at the Fisher Center in 2007, with an all-student cast, it was clear to me and to those who saw it that we were involved in something very special.”

Vaill was raised in Manhattan, and his parents often took him and his sister to the theater. “I fell in love with it as a child and harbored a secret desire to pursue acting,” he says. “It was a magic trick that was completely amazing to me, breathing the same oxygen as the people doing that.” He had a similar instant connection with Bard. On his first visit to the campus, Vaill felt a deep kinship with the College. He applied Early Action, was accepted, and never considered another option. “I felt this was the place I had to be. I am very pleased to say I was correct. I flourished.”

Vaill’s decision to major in theater was a less straightforward process. “Moderation loomed over me. I couldn’t be cavalier about my major. I tried on many different possibilities—religion, Victorian studies, literature, art history—until I finally realized that theater was the only major I was passionate about. It was during Parent’s Weekend, after Vaill took his parents to Akalaitis’s production of the Euripides drama Orestes at the Fisher Center, that he told them about his decision. “There’s something very personal about telling someone that you want to be an artist, so I was very nervous about it. They said they absolutely understood my decision after seeing the play we’d just seen.”

After graduation, Vaill went on to act in several off-Broadway shows in New York City and with the Shakespeare Theatre Company in Washington, D.C., working on stage professionally for three years before pursuing his MFA in acting from New York University’s Tisch School of the Arts. The first role Vaill landed after graduate school was on the Lincoln Center stage in Shakespeare’s Macbeth directed by Jack O’Brien and starring Ethan Hawke as the Scottish king. “It was an incredible experience. I played Graymalkin, one of the witches’ familiars. I leaned very heavily into the supernatural and played those scenes as a demonic being.” Vaill then played Ernst Ludwig in the Roundabout Theatre’s national tour of the Broadway revival of Cabaret directed by Academy Award winner Sam Mendes. Then, eight years after performing it as an undergraduate, Vaill learned that Gideon Lester, Fisher Center artistic director for theater and dance and director of Bard’s Theater and Performance Program, had commissioned a professional production of Fish’s Oklahoma! for the Fisher Center’s 2015 Bard SummerScape season.

“I sent Daniel an email about how exciting it was and that I would love to audition to play Jud again if they were holding auditions,” says Vaill. “He wrote back that day saying he had already given my name to the casting director as someone whom he wanted to see.” Vaill auditioned and was cast as Jud. “As a senior at Bard, I was largely going on impulse. There was something about the character that I absolutely understood instinctively. Over the years, with more training and experience, I have found the tools to express it.” The production, Vaill believes, developed in a similar way. “I think it had distilled in Daniel’s mind. His understanding of the material and what he wanted to do with it is more purposeful, more fully realized. The student production was the kernel of what came later.”

In his review of the 2015 SummerScape production, New York Times theater critic Ben Brantley described Vaill’s Fry as “a paranoid but oddly understandable stalker.” Most earlier portrayals presented the character as muscular, brutish, and simple; a caricature of the marginalized working stiff. Vaill played him, in Brantley’s words, as a “pale, weedy man with the kind of grudge that lands sociopaths on the front page and in prison.” The complexity Vaill brings to the role, and the empathy he evokes, are crucial to the success of the reimagined musical.

The immersive, groundbreaking production garnered rave reviews, and Fisher Center executive director Bob Bursey and his staff began working to bring it to New York City. In fall 2018, the Fisher Center production transferred to St. Ann’s Warehouse in Brooklyn, where it had a sold-out six-week run, and it opened on Broadway at Circle in the Square Theatre in April. “We knew that something special was happening again,” says Vaill.

A hallmark of Fish’s production is the absence of any preconceived notions about Oklahoma!—seeing the play for what it is, and revealing the script’s deeper meanings. “Jud is often played as a very scary, mean brute of a man,” says Vaill. “What Daniel and I have tried to do is look at the words on the page with fresh eyes to see who this person really is. Not to judge him before he speaks. If you look at Jud’s song ‘Lonely Room,’ it is about dreams. He has dreams, wishes for things. Beautiful words and images come out of him. It’s not what you’d expect to come out of the mouth of a ‘dirty farmhand.’ He expresses this desire to be seen, this desire to be loved, and this desire to be held that is incredibly human. When you strip him bare, what you’re left with is someone who just wants love so badly. And who hasn’t experienced that?”
https://www.bard.edu/news/details/?id=312&type=feature