News

Bard College has named Miriam Felton-Dansky director of its undergraduate Theater and Performance Program. A longtime faculty member in the program as well as in Bard’s Experimental Humanities concentration, Felton-Dansky will take her position as director in spring 2021. Gideon Lester, who has served as director of the Theater and Performance Program since 2012, will become senior curator of the newly formed Center for Human Rights and the Arts, part of the Open Society University Network, alongside his work as artistic director of the Fisher Center at Bard. 

“Miriam Felton-Dansky steps into this key leadership role at a moment when the College's Theater and Performance Program is poised to enact important curricular changes,” said Dean of the College Deirdre d’Albertis. “The theater and performance faculty are engaged in collaborative work with students past and present to develop and strengthen opportunities for undergraduate theatermaking based in the program's affirmed commitment to diversity, equity, and inclusion.” She added, “Gideon Lester will join with Tania El Khoury in building the new Center for Human Rights and the Arts and its allied MA program, bringing his artistic vision and experience to this important new leadership position in Bard's graduate programs.”

Miriam Felton-Dansky is associate professor of theater and performance at Bard. She has also been a core faculty member of the Experimental Humanities concentration since 2012 and served as its interim director in 2015–16. A scholar and critic of contemporary performance, her first book, Viral Performance: Contagious Theaters from Modernism to the Digital Age, was published by Northwestern University Press in 2018. Her criticism has appeared in Theatre Survey, Theatre Journal, TDR, Theater, PAJ, ASAP/J, Artforum.com, and the Walker Art Center’s magazine; from 2009 to 2018 she was a theater critic for the Village Voice. She is a cohost of the theater studies podcast On TAP and a contributing editor to Theater, where she served as guest coeditor for the Digital Dramaturgies trilogy (2012-–18). Her current research focuses on the history and politics of spectatorship in experimental performance. She holds a BA summa cum laude in theater and history from Barnard College and a doctorate of fine arts from the Yale School of Drama.

Gideon Lester, artistic director of the Fisher Center at Bard, has been named senior curator, OSUN Center for Human Rights and the Arts. Through its public, research, and academic programs, the OSUN Center for Human Rights and the Arts seeks to confront the current practical and conceptual challenges of human rights discourse by stimulating new ways of thinking, developing new strategies of activism and engagement, and working meaningfully on a global scale. The Center is finalizing an MA program in human rights and the arts, which will unite artists, scholars, and activists in an international, comparative, and interdisciplinary curriculum. The MA program will be based at Bard College, a founding member of the Open Society University Network (OSUN), and is expected to welcome its first class in fall 2021.

A festival director, creative producer, and dramaturg, Lester has collaborated with and commissioned leading American and international artists across disciplines, including Romeo Castellucci, Justin Vivian Bond, Krystian Lupa, Brice Marden, Sarah Michelson, Nature Theater of Oklahoma, Claudia Rankine, Kaija Saariaho, Peter Sellars, and Anna Deavere Smith. Recent projects include Where No Wall Remains, an international festival on borders (cocurated with Tania El Khoury); Daniel Fish’s Oklahoma! (Tony Award); Pam Tanowitz’s Four Quartets; and Ronald K. Brown and Meshell Ndegeocello’s Grace and Mercy. He founded and directs Live Arts Bard, the Fisher Center’s residency and commissioning program, and directed Bard’s undergraduate Theater and Performance Program from 2012 to 2020. He was previously cocurator of the Crossing the Line Festival and acting artistic director at the American Repertory Theatre. He has taught at Harvard and Columbia, has a BA in English literature from Oxford University, and was a Fulbright Scholar at Harvard’s Institute for Advanced Theater Training.
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About Bard College
Founded in 1860, Bard College is a four-year residential college of the liberal arts and sciences located 90 miles north of New York City. With the addition of the Montgomery Place estate, Bard’s campus consists of nearly 1,000 parklike acres in the Hudson River Valley. It offers bachelor of arts, bachelor of science, and bachelor of music degrees, with majors in nearly 40 academic programs; graduate degrees in 11 programs; eight early colleges; and numerous dual-degree programs nationally and internationally. Building on its 160-year history as a competitive and innovative undergraduate institution, Bard College has expanded its mission as a private institution acting in the public interest across the country and around the world to meet broader student needs and increase access to liberal arts education. The undergraduate program at our main campus in upstate New York has a reputation for scholarly excellence, a focus on the arts, and civic engagement. Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. For more information about Bard College, visit bard.edu.11/19/20
 

The Center for Curatorial Studies (CCS Bard) and the Human Rights Project announced today that Ama Josephine B. Johnstone has been selected as the seventh recipient of the Keith Haring Fellowship in Art and Activism. Her appointment is made possible by the Keith Haring Foundation as part of the second series of a five year-grant supporting the Fellowship—an annual award for a scholar, activist, or artist to teach and conduct research at Bard College. Johnstone’s appointment marks 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 in Art and Activism is an ongoing dialogue with leading artists, writers and scholars, bringing new modes of thinking, pedagogical models and ways of working into the Bard community.  International in scope, the Fellowship continues to evolve, raising issues that are current and introducing innovative responses to the challenges of the present,” said Tom Eccles, executive director of the Center for Curatorial Studies, Bard College.

Ama Josephine B. Johnstone is a speculative writer, artist, curator and pleasure activist whose work navigates intimate explorations of race, art, ecology and feminism, working to activate movements that catalyze human rights, environmental evolutions and queer identities. Johnstone is a PhD candidate in psychosocial studies at Birkbeck, University of London. She describes her research as taking “a queer, decolonial approach to challenging climate colonialism in Sub-Saharan Africa with a particular focus on inherently environmentalist pleasure practices in Ghana and across the Black universe.”

“Ama says that her work 'thrives in the fecund liminal spaces between the museum and the academy, the gallery and the protest,' and in this sense, among many others, she exemplifies the spirit and practice of Keith Haring. Her fearless creativity, coupled with her relentless critical curiosity, especially about human rights discourse itself, are going to be essential guides in any journey through our perilous times,” said Thomas Keenan, director of Bard's Human Rights Project.

Johnstone will be in residence at Bard during the spring 2021 semester to teach and develop local collaborations in the Hudson Valley, succeeding Pelin Tan as the 2019–20 Fellow. Details on the Keith Haring Fellowship in Art and Activism and previous fellows can be found at ccsbard.edu.

About the Center for Curatorial Studies, Bard College and the Human Rights Project at Bard College
Bard College seeks to realize the best features of American liberal arts education, enabling individuals to think critically and act creatively based on a knowledge and understanding of human history, society, and the arts. Two pioneering programs developed under this mission are the Center for Curatorial Studies (CCS Bard) and the Human Rights Project.

CCS Bard was founded in 1990 as an exhibition and research center for the study of late 20th-century and contemporary art and culture and to explore experimental approaches to the presentation of these topics and their impact on our world. Since 1994, the Center for Curatorial Studies and its graduate program have provided one of the world’s most forward thinking teaching and learning environments for the research and practice of contemporary art and curatorship. Broadly interdisciplinary, CCS Bard encourages students, faculty, and researchers to question the critical and political dimension of art, its mediation, and its social significance.

The Human Rights Project, founded at Bard in 1999, developed the first interdisciplinary undergraduate degree program in Human Rights in the United States. The Project maintains a special interest in freedom of expression and the public sphere, and through teaching, research, and public programs is committed to exploring the too-often neglected cultural, aesthetic, and representational dimensions of human rights discourse.

Since 2009, CCS Bard and the Human Rights Project have collaborated on a series of seminars, workshops, research projects, and symposia aimed at exploring the intersections between human rights and the arts, and doing so in a manner that takes neither term for granted but in fact uses their conjunction to raise critical, foundational questions about each. While academic in nature, this research and teaching nevertheless draws heavily on the realm of practice, involving human rights advocates, artists, and curators.

About the Keith Haring Foundation
Keith Haring (1958-1990) generously contributed his talents and resources to numerous causes. He conducted art workshops with children, created logos and posters for public service agencies, and produced murals, sculptures, and paintings to benefit health centers and disadvantaged communities. In 1989, Haring established a foundation to ensure that his philanthropic legacy would continue indefinitely.

The Keith Haring Foundation makes grants to not-for-profit entities that engage in charitable and educational activities. In accordance with Keith’s wishes, the Foundation concentrates its giving in two areas: The support of organizations which enrich the lives of young people and the support of organizations which engage in education, prevention and care with respect to AIDS and HIV infection.

Keith Haring additionally charged the Foundation with maintaining and protecting his artistic legacy after his death. The Foundation maintains a collection of art along with archives that facilitate historical research about the artist and the times and places in which he lived and worked. The Foundation supports arts and educational institutions by funding exhibitions, programming, and publications that serve to contextualize and illuminate the artist’s work and philosophy. haring.com

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

BARD COLLEGE CONTACT:
Mark Primoff
Director of Communications
Tel: +1 845.758.7412
Email: [email protected]

CCS BARD CONTACT:
Ramona Rosenberg
Director of External Affairs
Tel: +1 (845) 758-7574
Email: [email protected]
 

“Aileen used the body to understand life in a way that just kind of says hello to the world and celebrates all of what we can be,” Aviles said. “In Aileen’s classes, there was room for everyone to be just who they were,” said Hendrickson. “She would always say that we’re wonderfully well-made—like a sweet tiger or like a tree. She would create this environment where you were expected to do your best, of course, but you were also, more importantly, expected to, like, speak from your own point of view—to have the courage to know yourself and to share that.”

“As a proud native New Yorker, to see my hometown in full flower, flexing and showing off as only New York can feels exultant. New York City is not, has never been, and never will be a ghost town,” writes Vaill, who plays an employee of the Strand bookstore in the series. “New York has a starring role, and in the show’s deft, kind hands, what could feel like loss feels like a promise of what can return.”

Sky Hopinka, Assistant Professor of Film and Electronic Arts, was featured in the New York Times. His work “rivals in visual and linguistic beauty any new art I’ve seen in some time,” their critic writes.

By Holland Cotter for the New York Times

Between a spiking pandemic and a slugfest election, November has brought storm clouds to the nation. But to the art world it introduces two warm points of light in concurrent shows by the Indigenous American artist and filmmaker Sky Hopinka. One, in a new Manhattan gallery, is his New York City solo debut; the other, at Bard College in upstate New York, his first museum survey anywhere.

Mr. Hopinka is a member of the Ho-Chunk Nation and descended from the Pechanga Band of Luiseño Indians. His work, which he aptly calls “ethnopoetic,” is built on that biographical data, but expands outward from it. It’s steeped in Native American history but rejects the idea that history is confined to the past. Present tense and personal, it rivals in visual and linguistic beauty any new art I’ve seen in some time.

The fifth edition of the Photo Vogue Festival, entitled All In This Together, includes works by an international group of 30 photographers. Of her own work in the exhibition—the portrait Marissa—New York–based artist and Bard alumna Jasmine Clarke ’18 says, “When I look in the mirror, I want to believe that what I am seeing is an extension of myself even though I know that it isn’t. I’m seeing a reflection (an illusion) of me and my world. I can never quite trust a mirror; a picture creates a similar false sense of reality.” The exhibition will be available for viewing online beginning November 12.

Bard College announces the appointment of internationally acclaimed interdisciplinary artist and educator Nayland Blake ’82 as the incoming chair of the Bard Studio Arts Program, beginning with the academic year 2021–2022. Blake is the chair of the ICP-Bard Program in Advanced Photographic Studies, a joint masters program run by Bard College and the International Center of Photography in New York City. They succeed Ellen Driscoll, who returns to the studio arts faculty. For more information about Bard’s Studio Arts Program, please visit studioarts.bard.edu.

“Nayland Blake has a long history with Bard and a significant appreciation for what makes the institution unique. At the same time, they bring an important new perspective to imagining the future of Bard's Studio Arts program,” said Bard’s Dean of the College, Deirdre D’Albertis. “What all members of the program have commented on and appreciate already about Nayland is their commitment to students, faculty, and staff in the program all being heard and considered in building toward that future.”

Nayland Blake is an internationally acclaimed interdisciplinary artist and educator whose work is included in the collections of the Brooklyn Museum of Art, the Des Moines Art Center, the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, and the University Art Museum, Berkeley. Their writing has been published in Artforum, Shift, Interview, Out, Outlook, and numerous exhibition catalogues. Blake has been on the faculty of the Milton Avery Graduate School of the Arts (Bard MFA) and has taught at the San Francisco Art Institute, the California Institute of the Arts, the University of California, Berkeley, Parsons School for Design, New York University, the School of Visual Arts, and Harvard University Department of Visual and Environmental Studies. They are represented by Matthew Marks Gallery in New York. Blake has a BA in sculpture from Bard and an MFA from California Institute of the Arts.

About Bard College
Founded in 1860, Bard College is a four-year residential college of the liberal arts and sciences located 90 miles north of New York City. With the addition of the Montgomery Place estate, Bard’s campus consists of nearly 1,000 parklike acres in the Hudson River Valley. It offers bachelor of arts, bachelor of science, and bachelor of music degrees, with majors in nearly 40 academic programs; graduate degrees in 11 programs; eight early colleges; and numerous dual-degree programs nationally and internationally. Building on its 160-year history as a competitive and innovative undergraduate institution, Bard College has expanded its mission as a private institution acting in the public interest across the country and around the world to meet broader student needs and increase access to liberal arts education. The undergraduate program at our main campus in upstate New York has a reputation for scholarly excellence, a focus on the arts, and civic engagement. Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. For more information about Bard College, visit bard.edu.
 

New York Times critic Robin Pogrebin interviews Self ahead of her solo exhibition at Galerie Eva Presenhuber in Lower Manhattan, opening November 6. “The colorful works display Ms. Self’s signature combination of painting and collage,” writes Pogrebin. “She does not use glue or adhesive; in homage to her mother’s facility as a seamstress as well as the quilting tradition, Ms. Self integrates swatches of fabric into her paintings by deploying the sewing machine as well as the paintbrush: She draws with stitches. … These paintings speak to what Ms. Self said is the show’s main theme: ‘understanding and naming the institution of American slavery as the origin of Black American identity.’ ‘For me, it’s clarifying what I mean when I refer to Blackness,’ she added. ‘Without the institution of slavery, this country could never have been built to be what it is today. The Black American is almost a mascot for modernism. The Black American represents the modern world, the new world.’” Cotton Mouth is on view through December 19.

Firelight Media has named Bard alumni Adam Khalil ’11 and Zack Khalil ’14 among the 14 Fellows selected for the 2020–22 Firelight Documentary Lab. The 18-month program supporting Black, indigenous, and other filmmakers of color is now in its 11th year. The two brothers will receive support for their film Aanikoobijigan (ancestor/great-grandparent/great-grandchild), of which they write, “Locked away in the sterile storage of museums and archives, our ancestor’s remains struggle to find their way home. This film follows eleven Indigenous repatriation specialists that make up MACPRA (Michigan Anishinaabek Cultural Preservation & Repatriation Alliance), fighting to rebury and return ancestors from settler-colonial libraries, archives, and museums.”

“Martine Syms has earned wide recognition for a practice that combines conceptual grit, humour and social commentary. For her short-form moving image artwork, Kita’s World, Martine introduces viewers into her personal mythology; equal parts biological, psychological and sociological,” writes FAD Magazine. “My world is a strange combination of core material, broken samples, seductive loops, and heavy theory. Kita’s World considers the problem of the psychosomatic slip in the digital era,” says Syms.

The Orchestra Now (TŌN) has announced the addition of two more symphonic concerts to be livestreamed for free as part of its fall season. On November 1, Music Director and Founder Leon Botstein will conduct a program pairing 20^th century works by Schoenberg, Mexican composer Silvestre Revueltas, and R. Strauss with Handel’s Water Music; and on November 14, he will lead the Orchestra in the rarely heard Scherzi musicali by Black American composer Ulysses Kay. The concert will also feature Haydn’s Symphony No. 48 and works by Varèse and Hindemith. The livestreamed concerts are free and will be available for streaming after the performances.

The November concerts follow the Orchestra’s earlier fall livestreamed series Out of the Silence: A Celebration of Music, a four-concert virtual celebration of music showcasing Black composers presented with the Bard Music Festival in September; and the October 17 performance of string concertos by Polish, Czech, and Brazilian composers conducted by Zachary Schwartzman. All concerts will be made available on TŌN’s website. The additional November performances will be the final concerts livestreamed from the Fisher Center at Bard in TŌN’s fall season. The graduate students will finish with their academic courses for the remainder of the semester and then return in February 2021 to continue their academic and musical activities.

STAY TŌNED
TŌN has presented more than 60 audio and video streams since April 2020. They are offered on STAY TŌNED, its new portal regrouping all digital initiatives. The events feature weekly new and archived audio and video recordings showcasing recitals, chamber music, and symphonic programs, including collaborations with the Bard Music Festival that are also available on the Fisher Center at Bard’s virtual stage, UPSTREAMING. Some of the performances, such as the Sunset Serenade series, were performed outdoors for physically distanced audiences. Much of the content is also available on YouTube, Facebook, Twitter, and Instagram.

Handel & Strauss
Sunday, November 1, 2020 at 2 PM
This concert pairs three works from the early 20^th century—including R. Strauss’ elegiac Metamorphosen, written in the final months of WWII, and one of Mexican composer Silvestre Revueltas’ earliest orchestral compositions, Cuauhnáhuac—with Handel’s Baroque Water Music Suite, composed for one of King George I’s royal water parties on the River Thames in 1717.
Leon Botstein, conductor
Handel: Water Music Suite No. 1
Schoenberg: Chamber Symphony No. 1
Silvestre Revueltas: Cuauhnáhuac
R. Strauss: Metamorphosen

ACCESS: RSVP here to receive a direct link to the livestream on the day of the concert. This concert will be available for delayed streaming on STAY TŌNED starting on November 5.

Haydn’s Maria Theresa
Saturday, November 14, 2020 at 5:30 PM
Leon Botstein conducts three 20th-century works that all premiered in the U.S.—including the rarely heard Scherzi musicali by Black American composer Ulysses Kay, who taught at Lehman College in the Bronx for twenty years—along with Haydn‘s regal Maria Theresa Symphony, performed for the Holy Roman Empress in 1773.
Leon Botstein, conductor
Blair McMillen, piano
Varèse: Hyperprism
Hindemith: Concert Music for Piano, Brass, and Harps
Ulysses Kay: Scherzi musicali
Haydn: Symphony No. 48, Maria Theresa

ACCESS: RSVP here to receive a direct link to the livestream on the day of the concert. This concert will be available for delayed streaming on STAY TŌNED starting on November 19.

Bard College Academic Year and Safety
To adapt to current circumstances, Bard College created detailed protocols for testing and screening, daily monitoring of symptoms, contact tracing, quarantine practices, and physical distancing in the classroom and across the Bard campus. This includes specific protocols for musicians campus-wide in both its undergraduate and graduate programs.  TŌN has successfully pivoted its activities to comply and in addition to physically distanced rehearsals, the musicians have resumed their academic coursework. Since August, procedures required a separation of brass and wind instruments from the larger ensemble. Currently, restrictions on winds and brass have been eased, and limited numbers may be added to the Orchestra. This can be credited to Bard’s diligent testing and protocols.

The Orchestra Now
The Orchestra Now (TŌN) is a group of 72 vibrant young musicians from 14 different countries across the globe: Bulgaria, China, Costa Rica, Hungary, Indonesia, Japan, Korea, Mongolia, Peru, Spain, Taiwan, Thailand, the U.K., and the U.S. All share a mission to make orchestral music relevant to 21st-century audiences by sharing their unique personal insights in a welcoming environment. Hand-picked from the world’s leading conservatories—including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory of Brussels, and the Curtis Institute of Music—the members of TŌN are enlightening curious minds by giving on-stage introductions and demonstrations, writing concert notes from the musicians’ perspective, and having one-on-one discussions with patrons during intermissions.

Conductor, educator, and music historian Leon Botstein, whom The New York Times said “draws rich, expressive playing from the orchestra,” founded TŌN in 2015 as a graduate program at Bard College, where he is also president. TŌN offers both a three-year master’s degree in Curatorial, Critical, and Performance Studies and a two-year advanced certificate in Orchestra Studies. The orchestra’s home base is the Frank Gehry-designed Fisher Center at Bard, where they perform multiple concerts each season and take part in the annual Bard Music Festival. They also perform regularly at the finest venues in New York, including Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across NYC and beyond. HuffPost, who has called TŌN’s performances “dramatic and intense,” praises these concerts as “an opportunity to see talented musicians early in their careers.” 

The Orchestra has performed with many distinguished guest conductors and soloists, including Hans Graf, Neeme Järvi, Vadim Repin, Fabio Luisi, Peter Serkin, Gerard Schwarz, Tan Dun, Zuill Bailey, and JoAnn Falletta. Recordings featuring The Orchestra Now include two albums of piano concertos with Piers Lane on Hyperion Records, and a Sorel Classics concert recording of pianist Anna Shelest performing works by Anton Rubinstein with TŌN and conductor Neeme Järvi. Buried Alive with baritone Michael Nagy, released on Bridge Records in August 2020, includes the first recording in almost 60 years—and only the second recording ever—of Othmar Schoeck’s song-cycle Lebendig begraben. Upcoming releases include an album of piano concertos with Orion Weiss on Bridge Records. Recordings of TŌN’s live concerts from the Fisher Center can be heard on Classical WMHT-FM and WWFM The Classical Network, and are featured regularly on Performance Today, broadcast nationwide. In 2019, the orchestra’s performance with Vadim Repin was live-streamed on The Violin Channel.

For upcoming activities and more detailed information about the musicians, visit theorchestranow.org.

Leon Botstein
Leon Botstein brings a renowned career as both a conductor and educator to his role as music director of The Orchestra Now. He has been music director of the American Symphony Orchestra since 1992, artistic co-director of Bard SummerScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–11 and is now conductor laureate. In 2018, he assumed artistic directorship of Campus Grafenegg and Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is editor of the prestigious The Musical Quarterly and has received many honors for his contributions to music. More info online at LeonBotstein.com.


Press Contacts
Pascal Nadon
Pascal Nadon Communications
Phone: 646.234.7088
Email: [email protected]

Mark Primoff
Associate Vice President of Communications
Bard College
Phone: 845.758.7412
Email: [email protected]


 

“Many of my photographs are made out of a profound sense of powerlessness but also out of a desire to locate power and authority in unexpected places: in the natural world, in a solitary border patrol officer or in the intimacy and strength of a family under a bridge that connects the United States to Mexico,” writes Lê in the New York Times. “These images are reminders to me that our American landscape and the communities within it transcend this cultural and political moment.”

“What's important to us is to make sure that we keep in touch with who it is that we are in these unfortunate times,” Aviles, tells PBS NewsHour’s Jeffrey Brown. “We want to create a platform for the community to be a star on. That's really what we say. This is about boxes, and where we are confined to that. And art is all about pushing against the boundaries of those boxes, and helping all of us see the world.”

Hazel Gurland-Pooler ’99 has won a $25,000 grant for her film Storming Caesar's Palace, one of six finalists for the second annual Library of Congress Lavine / Ken Burns Prize for Film. The awards—overseen by the Library of Congress, acclaimed documentarian Ken Burns, the Crimson Lion/Lavine Family Foundation, and nonprofit The Better Angels Society—were presented at a virtual ceremony on October 20.

About Storming Caesar's Palace
Primarily led by low-income African American women, The National Welfare Rights Organization (NWRO) challenged sitting presidents, corporations, and everyday Americans to rethink their notions of the “welfare queen” by protesting benefit cuts, boycotting companies, suing the government—and winning—all before national news cameras.

For Ruby Duncan, Mary Wesley, and Alversa Beals—who lived in the shadow of the Las Vegas Strip—welfare reform was taking too long. With the NWRO, they sought to abolish welfare altogether, instead proposing a guaranteed annual minimum income for all Americans.

Storming Caesar's Palace explores how a group of ordinary mothers launched an extraordinary grassroots movement that fought for economic justice, women’s rights, and Black women’s empowerment.

“As part of ‘Art for Action,’ works by artists including Jeffrey Gibson, Jenny Holzer, Tomashi Jackson, and Carrie Mae Weems are on display on 350 digital screens in 16 cities across the US through Election Day, with seven additional artists showing on screens in Columbus and Cleveland, Ohio,” writes Hyperallegenic. “Approximately 3.34 million people will see them every day, totaling more than 106.7 million people throughout its monthlong run, making it the largest, nonpartisan voter awareness public art campaign. It’s a massive effort to counter voter suppression in the lead-up to one of the most anticipated and decisive elections in the country’s modern history.”

“What Ms. Hennies’s disparate works have in common is their forthright yet subtle, moving evocation of queerness,” writes Steve Smith. “The idea of subverting identity is queer,” Hennies said. “There’s a spectrum of sexuality. There’s a spectrum of identity. And the representation of that is taking something that seems simple, and showing that it is a spectrum.”

“With Perfidia, a new book of the artist-filmmaker’s writings, edited by Julie Niemi and stunningly designed by Chris Lee, Hopinka delves further into the effects of the violent foundations of the US, and their impact on the everyday lives of Indigenous peoples,” writes Dessane Lopez Cassell in Hyperallergic. “The text takes the form of a lengthy poem, and unfolds via a series of lucid cantos. These poetic compositions are punctuated by the artist’s own photographs, which alternate between the serene and more foreboding visions.”

“We were attracted to the people whose job it is to actually manage this process, kind of the unseen figures of democracy,” says Easton, part of the team that produced the series, which, according to the Times, “zeros in on battleground states, reflecting larger issues with voting laws, voters’ rights and disenfranchisement” and illustrates “how starkly different the voting process is for Americans depending on where they live.”

“I think it’s really important to photograph what you know, otherwise the work will feel insincere. That philosophy can be applied to anything you’re photographing. Somehow what you’re shooting has to relate back to you for it to work, in my opinion,” Wenner tells W. “The more time I’ve spent with my mother over the years, the more complex of a character she’s become for me. She really is one of the most mysterious, surprising people I know. Over time, it just became obvious to me that this was what the book should be about.”

Developed by the Ford Foundation in partnership with the Andrew W. Mellon Foundation, the Disability Futures Initiative spotlights the work of disabled creatives across disciplines and geography. Multimedia artist and Bard alum Carolyn Lazard ’10 is among the 20 filmmakers, artists, and journalists who make up the first cohort of winners. Each will receive a fellowship award of $50,000. Lazard, who works from the material conditions of chronic illness, uses video, sculpture, text, and performance to engage the aesthetic and political dimensions of consent, care, and dependency. Lazard has shown work at The Walker Art Center, The New Museum, Museum für Moderne Kunst Frankfurt, The Institute of Contemporary Art at the University of Pennsylvania, and the Whitney Museum of American Art, among other institutions.