News

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.

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.”

“Notwithstanding the conservatism of the opera business,” writes the New Yorker’s Alex Ross, “many top houses offer a world première every season or two.” Chaya Czernowin’s Heart Chamber, which premiered at the Berlin Deutsche Oper in December, is a case in point: “Heart Chamber, for which Czernowin wrote her own libretto, tells of a contemporary love affair infiltrated by anxieties and hesitations. In an early scene, the soprano sings, ‘Hey! Pick up your phone! Are you home? Later, the baritone sings, ‘You can’t just suddenly close up like that.’ The feeling is less of two souls being joined in eternal love than of two individuals negotiating the intersection of their separate lives. 

“At first glance, Czernowin, an Israeli native who teaches at Harvard, is an unlikely composer for such a project. Much of her work has tended toward images of primordial upheaval and elemental change. Her previous operas, Pnima and Infinite Now, conjured scenes of 20th-century catastrophe: the Holocaust in the former, the First World War in the latter. She avoids familiar harmonic signposts and is inclined toward spectacularly vivid eruptions of instrumental and electronic sound. The wonder of Heart Chamber is how she uses her radical sonic palette to evoke the stream of consciousness beneath the surface of ordinary life.”

“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.”

The world premiere of Bard alumna Chaya Czernowin’s new opera Heart Chamber at the Deutche Oper Berlin on December 6 is one of the year’s top 10 notable performances, says New Yorker music critic Alex Ross, and her “engulfing” war requiem Infinite Now (2016–17) is one of the reasons the it has been a “chaotically great decade for new music.” Czernowin, who studied with composers Elie Yarden and Joan Tower while at Bard, is currently Walter Bigelow Rosen Professor of Music Composition at Harvard University.

The acclaimed Broadway production has its roots in a 2007 student production at Bard, and developed into the 2015 Bard SummerScape production at the Fisher Center before heading to New York City. Oklahoma! closes on January 19.

Born in Harlem, Tschabalala Self ’12 studied studio art at Bard before attending the Yale School of Art for her MFA. Since her graduation she has enjoyed—and suffered—an astounding art world trajectory. Prices for her paintings have increased more than thirtyfold over the past five years, only sometimes to her benefit. She has gained international respect and recognition but she’s also lost significant control over where her artworks end up. The story of Self’s rapidly rising popularity is a case study in the pleasures and perils of early-career acclaim for young artists.

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.

Building a better community is a spiritual and artistic endeavor for Rev. Jack Perkins Davidson and Bard alumnus JaQuan Beachem, a Yale Divinity School student and ministerial intern.

Wondering what to get for the designer, fashionista, or art historian on your holiday list? WSJ art critic Ann Landi suggests the BGC exhibition catalogue French Fashion, Women, and the First World War.

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 Washington Post reviews Live Dangerously, the current exhibition at the National Museum of Women in the Arts, whose "most deliberately unsettling single image" is a photograph by Xaviera Simmons '05. Frieze reviews Soft Power, an exhibition at SFMOMA that features Simmons's work. 

The exhibition catalogue Emil Nolde: The Artist during the Third Reich, by Soika and the Cambridge historian Bernhard Fulda, provides a new historical narrative for an artist who fashioned himself a martyr of the Nazi regime—a narrative that has had political reverberations for the current German government. 
 

Bard College is well represented in this year’s Grammy nominations. The Broadway production of Oklahoma!—which began at Bard and stars Patrick Vaill ’07—received a nomination for Best Musical Theater Album for the 2019 cast recording. The audio recording of Beastie Boys Book, containing stories about the late founding member Adam Yauch ’86, was nominated for Best Spoken Word Album. The Black Pumas, with Vince Chiarito ’08 on bass, received a nomination for Best New Artist. 

The collaborative work by Tanowitz and classical pianist Simone Dinnerstein—performed by Dinnerstein and Pam Tanowitz Dance—will have its New York premiere at the Joyce Theater on December 10.

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.

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.
 

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.

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.

The soprano and Bard Conservatory Graduate Vocal Arts Program alumna Julia Bullock is on the verge of an unconventional career.