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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.

The Moroccan actor has been nominated for a Bafta for his role as Syrian refugee Sami Ibrahim in the British comedy series Home. “I’d like our stories to be told in a more authentic, humane way,” he says. The entertainment industry “is literally your country's flag that travels all around the ether and plants itself in somebody else's brain” he says. “Who tells your story when you're Arab? It should be us.”

Chicago public television profiles acclaimed photographer Steve Schapiro ’55, who took iconic photos during the Civil Rights Movement. He reflects on his time embedded with James Baldwin in the South and meeting leaders of the movement in the 1960s. The photos he took of James Baldwin and the Civil Rights Movement illustrate a recent trade edition of Baldwin’s book The Fire Next Time. Renewed interest has brought this edition back to the bestseller charts. Even into his eighties, Schapiro has been taking photographs, including covering Black Lives Matter protests. “We are on the cusp of something which can be an enormous movement and can change this country in a very, very positive way,” he says, “but it’s still a big question as to whether that will happen or whether it will just pass by again.”

Mmuseumm, cofounded and curated by Alex Kalman ’06, is New York City's tiniest museum. Instead of moving their 2020 exhibitions online, they have just released the 300-page Jumbo Catalog showcasing the exhibitions that were supposed to take place this year. The Mmuseumm’s 15 exhibitions planned for 2020 are centered on the theme of power. One series, Last Meal Receipts, collects 14 receipts for death row inmates’ specially requested last suppers, eaten a few hours before their scheduled executions in the state of Georgia.
 

“A lot of the time I start with a new phrase, movement, or idea, but I’ll also bring along old material that feels interesting, that could be worked on more, or failed in another piece but I want to bring it forward,” says Tanowitz. “We come up with a list of what we’re interested in doing, and then they work on it by themselves. Then we FaceTime; I’m manipulating, and we’re working on timing and rhythm, or I’ll rearrange the order. It’s good, but hard—you’re not in the room together; the screen is an extra layer of buffer.”

 

Ed Halter, critic in residence in the Film and Electronic Arts Program, revisits the early days of internet art: “Two decades ago, when the World Wide Web was just beginning to become commercialized, online artists concerned themselves more with the new formal properties of the internet than its meager content, then only fitfully user-generated and as-yet unorganized by the dominance of Google’s search algorithms,” Halter writes. “The audacious early work of Netherlands-based collective JODI exemplifies this moment. Their quasi-anonymous moniker derives from the identities of its two members, Joan Heemskerk and Dirk Paesmans, who began collaborating in 1995; by the decade’s end, JODI would become one of the most recognizable names of the first generation of internet art.”

Professor An-My Lê’s ongoing series of photographs Silent General speaks to the current political and cultural moment: packed protests, fallen monuments, and anti-Trump graffiti echo the images filling TV screens and social media. “It’s eerie to see how some of the issues that unfolded when I started Silent General [in 2016] are now back at the forefront in an even more urgent way,” says Lê. “History doesn’t move through time in a straight line.”

“I have repeatedly stated that I think the four-way love-drugged lovers’ fight in A Midsummer Night’s Dream will never work on a Zoom format with socially distanced actors. I may have been wrong,” writes Gemma Allred. “New-York-based Bard College and Theatre for a New Audience (TFANA) streamed live performance of Caryl Churchill’s Mad Forest: A Play from Romania, directed by Ashley Tata, pushed the edges of what is possible in Live Online Performance.”