News

In Demolishing Everything with Amazing Speed, Dan Hurlin stages Fortunato Depero’s unproduced plays at Bard SummerScape, July 7–17.

Tony Oursler: The Imponderable Archive features ephemera from Oursler's collection of objects related to scientifically unsupportable beliefs.

Professor Luc Sante meditates on the disappearance of junk shops, their cultural identity, and the possibility of transcendence amid the junk.

A look into Ms. Export’s life in Austria, her early work in “expanded cinema,” and her film Invisible Adversaries, showcased at Bard’s Hessel Museum.

A Letter to the Bard Community from President Leon Botstein

It is with great sadness that I inform the community of the death of Peter Hutton, Charles Franklin Kellogg and Grace E. Ramsey Kellogg Professor of the Arts, on June 25 at the age of 71. 

Peter began teaching at Bard in 1985 and chaired the Film and Electronic Arts Program for twenty-seven years. He also taught in the Milton Avery Graduate School of the Arts. 

Peter was born in Detroit on August 24, 1944. He received B.F.A and M.F.A. degrees from the San Francisco Art Institute, and travelled the world as a merchant seaman, creating intimate studies of place from the Yangtze River to the Polish industrial city of Lodz, and from the coast of Iceland to a ship graveyard on the Bangladeshi shore. Anthology Film Archives presented a retrospective of his work in 1989, and the Museum of Modern Art presented a comprehensive, eighteen-film retrospective in 2008. His films have also been featured in the Biennial Exhibitions of the Whitney Museum of American Art for many years. He was named a Guggenheim Fellow and Rockefeller Fellow in the early 1990s and received grants from the New York Artist Foundation and the National Endowment for the Arts for his work on the Hudson River. 

Peter was one of the most gracious, talented, original, and generous colleagues I have ever known. His contribution to the College was transformative. My deepest condolences to his daughter, Manon Hutton-DeWys ’06, of whom he was justly proud, and her husband, Donald McClelland; and his widow, Carolina Gonzalez-Hutton. He is also survived by his twin sister, Wendy Hutton, and brother, William Hutton.

A funeral service will take place on Tuesday, June 28, beginning with a quiet gathering at 5:00 p.m. at the Avery Center for the Arts, followed by a silent procession to Blithewood, where the service will be held on the West Portico, weather permitting, or in the Blithewood Foyer, if necessary. A reception at the president’s house will immediately follow the service.

If you choose to honor Peter and his legacy at Bard, donations may be made to Bard College for the Peter Hutton Film Fund. Please do not send flowers. 

Read Professor Hutton's obituary in the New York Times, "Peter Hutton, Filmmaker With Austerely Romantic Worldview, Dies at 71."

"Over the course of the fifth century BCE, tragedy evolved into an ideal literary vehicle for exploring, and often questioning, the political, social, and civic values of Athens itself."

Salisbury makes his directorial debut with Everything's OK, a postapocalyptic live action/animated hybrid, which was accepted to the Cannes short film program.

Hanusik's poignant photos of southern communities grappling with the effects of climate change have been published in Oxford American's "Eyes on the South" series.

This weekend, the Center for Curatorial Studies at Bard College will launch two new exhibitions: Invisible Adversaries and Tony Oursler: The Imponderable Archive. Imponderable offers the first comprehensive showing of the remarkable objects collected by American artist Tony Oursler, tracking the history of the paranormal dating back to the early 18th century. Invisible Adversaries celebrates 10 years of the Hessel Museum of Art at Bard College with a selection of works around the theme of a woman’s struggle to retain her sense of self against hostile alien forces. Curated by Lauren Cornell and Tom Eccles, the exhibition includes more than 50 artists drawn from the Marieluise Hessel Collection, major installations, and new commissions. These two exhibitions are accompanied by Reading Context, an opportunity to study selected works of art alongside their archival materials, taking place in the new Collection Teaching Gallery. The opening reception for new exhibitions will take place on Saturday, June 25 from 1:00 to 4:00 p.m. More on the CCS Bard website

The Louis Comfort Tiffany Foundation has unveiled its biennial list of 2015 grantees. Among them are two Bard MFA faculty members, Pam Lins and A. L. Steiner, and three MFA alumni/ae: Jared Buckhiester '13, Rochelle Goldberg '15, and Kelly Kaczynski '03. More on Arforum

Artist Kate Stone '09 and writer Hannah Schneider '09 met at Bard; now they've created a "poignant and witty" collection of illustrated short stories.

In 1993, Stephen Shore traveled to Luzzara, a rural district in Northern Italy, to photograph its residents. The resulting portfolio shows a traditional community slowly embracing modernity.

Remarkably, fine art and design innovator László Moholy-Nagy, the focus of an exhibition at the Guggenheim Museum, had almost no training in the visual arts, writes Professor Stirton.

On the eve of her second solo exhibition at the Rachel Uffner Gallery, Greenbaum discussed the profound influence of her Bard mentor, Elizabeth Murray.

For the exhibition, Professor of Studio Arts Laura Battle created How Long Is Your Past, How Far Is Your Future, a 16-foot-long, site-specific painting filled with cosmological symbols.

Every year, BMF challenges audiences to rethink composers they think they know. This year's festival presents possibly the greatest challenge yet as it takes on Giacomo Puccini.

In the late 1970s, Atwood was living in Paris and had a chance encounter with blind students, from that stemmed her award-winning series of photographs.

Chris Claremont has written more X-Men comics than anyone else, and his work has had a major impact on the franchise and the superhero genre generally.

Imponderable is an extensive research project, exhibition, film, and publication that investigates the personal collection of American artist Tony Oursler, a remarkable trove of more than 2,500 photographs, documents, publications, and unique objects, tracking a social, spiritual, and intellectual history of the paranormal dating back to the early 18th century.

The Hessel Museum of Art marks its 10th anniversary with a major exhibition curated by Lauren Cornell and Tom Eccles entitled Invisible Adversaries. The exhibition is inspired by the eponymous 1976 feature film by the radical Austrian artist VALIE EXPORT, and is built around its themes. The film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her. The exhibition includes more than 50 artists drawn from the Marieluise Hessel Collection, major installations, and new commissions.