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Three Bard College Graduates Win 2025 Fulbright Awards

Maia Cluver ’22, Cecilia Giancola ’25, and Oskar Pezalla-Granlund ’24 were all granted Fulbright Awards for the 2025-26 academic year. 
A man in a black shirt looks at the camera

Yebel Gallegos Awarded New York State Choreographers Initiative 2025 Award

Yebel’s choreography project will become a mini-residency designed to fit his specific artistic needs, and he has invited Dante Puleio, artistic director of the Limón Dance Company, to serve as his mentor.
Adriane Colburn and Angelica Sanchez Awarded Fellowships from New Jersey State Council for the Arts

Adriane Colburn and Angelica Sanchez Awarded Fellowships from New Jersey State Council for the Arts

The council says their awards “support the ‘creative capital’ that helps make New Jersey great.”

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September 2020

09-30-2020
The Center for Curatorial Studies, Bard College (CCS Bard) Presents: <em>Sky Hopinka: Centers of Somewhere</em>
The Center for Curatorial Studies, Bard College (CCS Bard) presents 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 was on October 19th at 5 p.m. In this special presentation, Heather Bruegl, Director of Cultural Affairs for the Stockbridge Munsee Community, gave 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 has co-published 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 features 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.

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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 [email protected] 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 [email protected] 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: [email protected]        

PRESS ADVISOR:
Gabriel (Gabe) Einsohn
M: 202.415.8095
Email: [email protected]

CCS BARD CONTACT:                                    
Ramona Rosenberg                                        
Director of External Affairs                                          
Tel: +1 (845) 758-7574                                               
Email: [email protected]
 
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Photo: Sky Hopinka, still from Dislocation Blues, 2017. HD Video, stereo, color, 16:57 min. Courtesy the artist.
Meta: Type(s): Event | Subject(s): Bard Graduate Programs,Division of the Arts | Institutes(s): Center for Curatorial Studies |
09-29-2020
<em>Aperture</em> Profiles New Series of Photographs, <em>Tokens from an Unled Life, </em>by Gus Aronson ’20
“I began to see objects as vessels and people as fortune-tellers,” Aronson says of his photographs, mostly taken in and around Yonkers, upper Manhattan, and the Upper West Side. “Photographing in a world so divided and isolated, it was important to remind myself that we are, in many ways, still connected.”
Full Story in Aperture
Photo: Tokens of an Unled Life, 2020, for Aperture. Courtesy Gus Aronson '20
Meta: Type(s): Alumni,Article | Subject(s): Bardians at Work,Division of the Arts,Photography Program |
09-24-2020
Review: <em>Washington Post</em> Calls Playwright Lola B. Pierson ’05 and Acme Corporation’s “Play in a Box” a “Delight”
Relief from Zoom sometimes comes in a box. “I was tickled when the box arrived in the mail from Baltimore’s sharp little experimental company the Acme Corporation,” writes the Washington Post’s Peter Marks. “The group, led by Artistic Director Lola B. Pierson, sent me—and you can get one, too—a literal play in a box: a do-it-in-your-own-time delight titled The Institute for Counterfeit Memory. All it requires is a performance space (the top of a kitchen table), about 25 minutes and a longing for the days, now zooming rapidly into the past, when you could sit in a packed little theater and let some smart new entertainment wash over you. … The Institute for Counterfeit Memory cannily employs the devices it provides to bring you back to the feeling of being in a room with other spectators, even as it reminds you that you are alone. Its ministrations so impressed me that when I turned over the final cue card instructing me to applaud, I actually did.”

 
Full Story in the Washington Post

Meta: Type(s): Alumni | Subject(s): Bardians at Work,Division of the Arts,Theater and Performance Program | Institutes(s): Bard Undergraduate Programs |
09-22-2020
Bard Fisher Center Choreographer in Residence Pam Tanowitz Wins $275,000 Doris Duke Artist Award
Contemporary choreographer Pam Tanowitz, a 2020 Doris Duke Artist in the dance category, is known for her unflinchingly postmodern treatment of classical dance vocabulary. Her 2018 creation of Four Quartets, inspired by T. S. Eliot’s literary masterpiece and set to music by Kaija Saariaho, was produced by and premiered at Bard Fisher Center—a production the New York Times called “the greatest creation of dance theater so far this century.”
Full story at the Doris Duke Foundation
Photo: Bard Fisher Center Choreographer in Residence Pam Tanowitz. Photo by Erin Baiano
Meta: Type(s): Faculty | Subject(s): Division of the Arts | Institutes(s): Fisher Center |
09-22-2020
Masha Gessen Reports on Svetlana Alexievich, the Belarusian Winner of the 2015 Nobel Prize in Literature, and Her Determination to Represent the Will of Protesters in Belarus Despite State Intimidation
“I got through to Svetlana Alexievich . . . around two o’clock on Wednesday afternoon, in Minsk. It was noisy in her apartment. ‘There are about fifteen people here,’ she said. They had gathered to bear witness to whatever might happen to Alexievich, who is the last original member of the opposition Coordinating Council—formed last month after mass protests began in Belarus—who has been neither imprisoned nor forced into exile,” writes Gessen. “Strange men, who she assumed worked for President Alexander Lukashenka’s security services, had been ringing her doorbell the previous evening. ‘People have been gathering since nine in the morning. Ambassadors and others. It’s a kind of resistance through presence,’ she said.”
Full story in the New Yorker
Photo: Distinguished Writer in Residence Masha Gessen. Photo by Lena Di
Meta: Type(s): Faculty | Subject(s): Division of the Arts,Written Arts Program | Institutes(s): Bard Undergraduate Programs |
09-22-2020
Bard’s Ephraim Asili MFA ’11 Talks to <em>BOMB</em> Magazine About His Debut Film, <em>The Inheritance</em>, Which Weaves Together Histories of the MOVE Organization, the Black Arts Movement, and His Time in a Black Marxist Collective
“I refuse to foreground art-world or film-industry politics in my art in order to gain acceptance. I made the film politically, embedding MOVE, radical politics, the input of my cast, crew, and my elders into not only the story of the film but the form and structure of the work,” says Ephraim Asili MFA ’11, assistant professor of film and electronic arts at Bard College. “The Inheritance is not about the expression of rage or disgust; it’s about what happens the morning after, when we go back home after the protest. That’s where the work begins.” The Inheritance will screen virtually at the Toronto International Film Festival on September 14 and 17, and at the New York Film Festival September 18–23.
Read the interview in BOMB
Photo: Production still from “The Inheritance,” directed by Ephraim Asili, 2020. Photo by Mick Bello
Meta: Type(s): Alumni,Faculty | Subject(s): Bard Graduate Programs,Bardians at Work,Division of the Arts | Institutes(s): Bard Undergraduate Programs,MFA |
09-16-2020
Interview: Artists Tschabalala Self ’12 and Somaya Critchlow on the Iconographic Significance of the Black Female Body in Contemporary Culture
Bard alumna Tschabalala Self ’12 interviews emerging British artist Somaya Critchlow, whose practice “draws a line of triangulation between the observer, the observed, and the larger social context imposed upon Black women and the expression of their bodies.” “I’m very aware of the terms that I operate within being Black and female and wanting to be a painter,” says Critchlow. “I love British culture and I think there is so much to it, and that has all come from the mixture of history and tradition and the influx of people migrating in and out of the UK and the new culture developing out of that. I feel like I’m a reflection of this, and while being a Black British artist is a complex position to hold, I find that like all things that invoke further observation and not just acceptance it can be a powerful place to operate from.”
Read the Conversation
Photo: Somaya Critchlow, The Wait of Silence II (Afternoon Tea), 2020, detail. © Somaya Critchlow.

Courtesy of the artist and Maximillian William, London.
Meta: Type(s): Alumni | Subject(s): Bardians at Work,Division of the Arts,Inclusive Excellence |
09-15-2020
CCS Director Tom Eccles Comments on the Layoffs, Furloughs, and Departures of Arts Sector Workers During the Coronavirus Pandemic and the Lasting Impact on Cultural Institutions
“Right now, there is a tremendous loss of faith among people who gave everything to museums,” Eccles tells Artnet. “The furloughs and the layoffs had a terrible psychic effect on people in our industry.”
Full story in Artnet
Photo: A view of the Metropolitan Museum of Art in April. Photo by Rob Kim/Getty Images, courtesy Artnet
Meta: Type(s): Staff | Subject(s): Division of the Arts | Institutes(s): Center for Curatorial Studies |
09-15-2020
<em>Hyperallergenic</em> Profiles <em>A stone that thinks of Enceladus</em>, a New Installation by Artist Martha Tuttle ’11 at Storm King Art Center
“Tuttle lets the installation stand as the answer to its own questions, even if it can feel that much is left unsaid,” writes Louis Bury. “Better to acknowledge that part of every object’s reality remains unavailable—incommunicable—to others, what object-oriented philosophers call an object’s ‘withdrawal.’ Tuttle’s work turns that withdrawal into an art.”
Full story in Hyperallergic
Photo: Martha Tuttle, “A stone that thinks of Enceladus” (2020), installation. Photo by Jeffrey Jenkins, courtesy the artist and Storm King Art Center
Meta: Type(s): Alumni | Subject(s): Bardians at Work,Division of the Arts,Studio Arts Program | Institutes(s): Bard Undergraduate Programs |
09-09-2020
Photographer and Filmmaker Gus Aronson ’20 Showcases Work in<em> Elle</em> Feature Exploring Fall Fashion through the Eyes of 2020 Photography Graduates
“My practice, for the most part, centers around the convergence of information, fiction, and history,” says Aronson, who photographed his friends Aurora and Henry near Bard’s campus, crediting the lush landscape and rich history as a source of inspiration. “I believe that pictures don’t depict history or a moment in time, but rather challenge it. They act as a road map for the future. They are tarot cards in a sense, informing how we subsequently see the world and the next [set of] pictures.”
Full story in Elle
Photo: Photograph by Gus Aronson for “Elle” Magazine
Meta: Type(s): Alumni | Subject(s): Division of the Arts,Photography Program | Institutes(s): Bard Undergraduate Programs |
09-02-2020
Interview: Artist Brittany Tucker ’18 talks to <em>Medium</em> about Using Art as a Tool for Personal Healing, Historical Reflection, and Saying What Needs To Be Said
“I am asking myself constantly: What comes after representation? What comes once we have a seat at the table — what do we do? What do we say?” Tucker tells Medium. “I knew that once I had representation, what I would do is make art about my life and the things that I was dealing with as a way to heal myself, and to experiment in a way that was safe. I got that through painting. I created this character of a white man, like an American business guy. The cartoon figure just became a way to explore myself in my paintings.”
Read More
Photo: Artist Brittany Tucker ’18, courtesy Medium
Meta: Type(s): Alumni | Subject(s): Division of the Arts |
09-01-2020
Black Lives Matter Mural by Bard Microcollege Student Now Greets Visitors at Philly’s Municipal Services Building
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.
 
Story from WHYY
More from BPI
Photo: Artist Russell Craig was joined by Philadelphia Mayor Jim Kenney who held the ribbon at the dedication of Craig’s mural at the city’s Municipal Services Building. (Kimberly Paynter/WHYY)
Meta: Type(s): Student | Subject(s): Division of the Arts | Institutes(s): Bard Prison Initiative,Bard Undergraduate Programs,Center for Civic Engagement |
Results 1-12 of 12
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