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Gibson draws upon his Native American heritage as well as postwar abstractionism in this large-scale work, which measures 44 feet square by 21 feet high. Entitled Because Once You Enter My House It Becomes Our House, the multitiered structure refers to the earth-based architecture of the ancient metropolis of Cahokia, which was the largest city of the North American Indigenous Mississippian people at its height in the 13th century. “Even though it’s where my people are from, I had never heard of these structures being in Mississippi,” says Gibson. “That this history existed there is amazing and moving.” On view at New York’s Socrates Sculpture Park until March 2021.

“I have been grappling a lot with what art means in times of crisis and change,” says Bard alumna Ruba Katrib MA ’07 in this interview with Hyperallergic’s Dessane Lopez Cassell. “Despite everything that is going on, so many people I talk to are still craving IRL experiences with art—even while a pandemic rages and even while protesting in the streets and fighting to change this system and its rotten power structures. This makes me feel that art still does so

As part of its series 15 Creative Women for Our Time, the New York Times profiles Bard alumna Juliana Huxtable ’10—DJ, artist, poet, performer, and now novelist. “The common thread running through Huxtable’s work,” writes the Times’s Aisha Harris, “is a provocative if often cheeky exploration of layered identity and how it is and isn’t moldable: What stories are told about us—or are written on our bodies—and which do we tell ourselves?”

Bard MFA alumna Suzanne Kite is one of the first class of 11 Women at Sundance | Adobe Fellows, announced this week by the Sundance Institute. The new program is designed to meaningfully support women artists creating bold new work in film and media, with a priority on filmmakers from historically underrepresented communities. Kite is an Oglála Lakȟóta performance artist, visual artist, and composer. Her scholarship and practice highlights contemporary Lakota epistemologies through research creation, computational media, and performance.

“During the past few years of Donald Trump’s deranged presidency, if there is one writer I turn to it is Masha Gessen, whose piercing clarity is gemlike and refusal to equivocate precious,” writes Guardian columnist Suzanne Moore. “As a journalist, Gessen has covered Russia, Hungary and Israel, so is not experiencing illiberalism for the first time. Instead of a weariness however, what is present in the book is a stunning capacity to connect the dots in a way that few can.”

Bard College faculty and alumni have once again appeared on the list of the year’s Emmy nominees. Emma Briant, visiting research associate in human rights, was a senior researcher for The Great Hack, which was nominated in the Outstanding Documentary or Nonfiction Special category. Dead to Me, the Netflix show produced by alumnus Buddy Enright ’84, was nominated for Outstanding Comedy Series. Bojack Horseman, cocreated by Raphael Bob-Waksberg ’06, was nominated for Outstanding Animated Program. Beastie Boys Story, about Adam Yauch ’86 and his bandmates, was nominated for Outstanding Documentary or Nonfiction Special.

“This is what dreaming sounds like”: In the 1980s and ’90s Bard Professor in the Arts Neil Gaiman first showed us what dreaming looks like, with his mythical, world-bending comic book series The Sandman. Now Audible and DC Comics give voice to Gaiman’s dreams — and nightmares—in “a vibrant audio adaptation,” writes Maya Phillips in the New York Times.

“The ragged end of his Presidency, if it comes, will be full of conflict and resentment. There will be no orderly handover, no constructive transition—a disastrous prospect during a pandemic and a deep recession, and yet another blow to our perceptions of how elections and government operate,” writes Gessen in the New Yorker. “This is the best-case scenario. The worst case, as Douglas’s three catastrophes illustrate, is a close or contested result of the vote, which leads to a constitutional implosion and an explosion of violence.”

“By eviscerating a Republican’s excuse for his foul-mouthed abuse the congresswoman showed the power of rhetoric,” writes Distinguished Writer in Residence Francine Prose in the Guardian. Ocasio-Cortez, who addressed the House of Representatives in response to Republican Congressman Ted Yoho’s verbal assault on the Capitol steps, provided “a masterpiece of heartfelt, unadorned plain speech that (consciously or instinctively) employed the tools of the orator, the rhetorician and preacher. What carries us is repetition, rhythm, emphasis, cadence, pronunciation (the congresswoman leans into her Bronx vowels) and a seamless transition from each event or idea to its larger implications.”

“What will become of public art and space in New York in the months and years ahead?” writes Kitnick in Artforum. “More baubles and police barricades? Some claim that the truly public art of our time is not that which demands people come to it (the puppy in the plaza) but that which disperses outward to meet its audience—the magazine, the hit single, the post. I guess that’s true to a certain extent, but now, more and more, that seems like our experience of so much art, especially during quarantine.”

Jack Ferver—New York–based writer, choreographer, director, and Bard artist in residence—talks with Vogue about choreographing Jeremy O. Harris’s play A Boy’s Company Presents: “Tell Me If I’m Hurting You.” This “intensely ambitious” work is styled after a Jacobean revenge tragedy. Written in verse, the play is set “Before, During, and Hopefully After Heartbreak.” It follows the meeting of two young, Black men, Vinnie and Baby Boy, which prompts “an erotic dream-journey that begins with a rush of passion—and ends, inevitably, soaked in blood.”

First Cow, directed by Kelly Reichardt, S. William Senfeld Artist in Residence at Bard College, “may be the finest of Reichardt’s films to date.” The film is set in the wilds of an early 19th-century Columbia River settlement, in what is now Oregon, and focuses on the business partnership and friendship of an Anglo cook and an entrepreneurial Chinese immigrant.
 
Kelly Reichardt's First Cow is available in virtual cinemas, which support the movie theaters that are still closed, including this week at Film at Lincoln Center, and on iTunes or anywhere else you rent movies online—you can see the full list here.

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
 

“When I’m dancing, I can be a man, I can be a woman. I can be gay or straight.” says Mee Ae Caughey ’00. Drag is a cornerstone of Caughey’s shape-shifting practice of Butoh—an avant-garde movement, born in Japan after World War II—that she discovered while studying at Bard College. 
 

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.”