News

Professor Gilles Peress’s photographs are paired with writing by journalist Philip Gourevitch on the anniversary of Rwanda’s brutal 1994 genocide.

The exhibition, based on research by Soika and Cambridge historian Bernhard Fulda, reveals German painter Emil Nolde as an enthusiastic supporter of Hitler’s regime rather than its victim.

Ginzburg, who was raised in Saint Petersburg, Russia, talks about the range of possibilities inherent in the movement and transition between one place and another: “The experience of immigration . . . makes you aware of how perception and self-awareness shift with displacement (both geographical and cultural).”

The Orchestra Now will perform the U.S. premieres of Joachim Raff’s Psalm 130: De Profundis and Lera Auerbach’s De Profundis (Violin Concerto No. 3) at Bard’s Fisher Center on Saturday, May 27, and Sunday, May 28, featuring internationally acclaimed violinist Vadim Repin, and EMI recording artist, soprano Elizabeth de Trejo.

“Daniel Fish’s wide-awake, jolting and altogether wonderful production … just keeps getting better.”

Wu Tsang appears on the cover with the story “Take Me Apart,” and Nayland Blake is featured in “Serious Play” in the issue The Name of This Issue Is Not Queer Art Now.

Bard MFA professors Hong-Kai Wang and Bill Dietz are leading a monthlong project in Philadelphia called “Singing is what makes work possible.” Participants learn songs people sing during work in different languages and cultures, in collaboration with a sound art gallery called Remote Viewing.

BGC’s newest exhibition is a “captivating” exploration of the influence of the past on modern jewelry design.

Daniel Fish's "scrappy student staging" of Oklahoma! became a Bard legend. Then it transformed from the Theater Program to Bard SummerScape, and now to Broadway.

Talk to people about the director Daniel Fish, and certain words tend to come up a lot. Intense. Exacting. Tortured.

There’s his work, which lies at the challenging intersection of experimental theater, opera, film and installation art. And then there’s the man himself, whose rail-thin physique, storm of dark hair and penchant for black tends to draw analogies to a Dostoyevsky character.

The Bard College Conservatory of Music presented The Degree Recital of the Graduate Conducting Program on March 30, featuring conductors Renée Anne Louprette and Michael Patterson, who led exceptional performances of works by Beethoven, Vaughan Williams, Mozart, and Stravinsky for an enthusiastic, near-capacity audience in Olin Hall.

This summer, the Bard Music Festival celebrates its 30th anniversary season with a two-week, in-depth exploration of “Korngold and His World.” In twelve themed concert programs, complemented by pre-concert lectures, a film screening, panel discussions, and expert commentary, Bard examines the life and career of Erich Wolfgang Korngold (1897–1957), the under-sung yet hugely influential composer whose lush Romanticism would come to define the quintessential Hollywood sound. The festival will take place over two weekends, August 9–11 and 16–18, as the centerpiece of Bard SummerScape 2019.

Daniel Fish came to Bard to direct students in a production of Oklahoma! when Vaill was a senior. Twelve years later, “Vaill's portrayal of Jud Fry is about to become one of the most talked-about performances of the year.”

Filmmakers Adam Khalil ’14 and Zack Khalil ’11, who are brothers and Bard graduates, will received a two-year, $40,000 grant to pursue their work.

Elliott Sharp ’73—multitalented performer, composer, and producer—continues to be a leading figure in Manhattan’s downtown music community.

The show chronicles how a study of the indigenous people of British Columbia, originally published in 1897, has acted as a guide for contemporary Kwakiutl peoples.

The yearlong residency program is open to alumni/ae of the Bard MFA program and affiliated artists of Live Arts Bard. This year’s winners: artists William Lamson, Caitlin MacBride, and Tania El Khoury, visiting assistant professor of theater and performance at Bard; and pianist Courtney Bryan.

Artist Tschabalala Self ’12 explores the iconography, interiority, and subject status of black women in her multimedia portraits. She discusses her exhibition at Seattle’s Frye Art Museum in this interview.

The Orchestra Now (TŌN) continues its season at Bard Fisher Center on April 6 and 7 with Verdi’s celebrated Requiem, led by TŌN’s music director, Leon Botstein. The immense work is set for double choir and orchestra, and will feature soprano Margaret Tigue, mezzo-soprano Chloë Schaaf, and bass Wei Wu.

In Seismic Belt, “Boshnack writes with purpose and passion, with an uncanny way of expressing a narrative. She is a musician, a composer, a feminist, an activist, and most certainly, a storyteller.”

The exhibition of more than 65 works includes abstract geometric paintings, punching bags, sculptures, and video.