News

Ephraim Asili, technical director of Bard's Film and Electronic Arts Program, will visit Toronto in August to work on his ongoing film series about communities in the African Diaspora.

From the first airplane flight to the very new Dronestagram page, Teju Cole, New York Times Magazine photography critic, describes the progression of the drone’s-eye view.

Tom Wolf, a scholar of the Japanese-American figurative painter Yasuo Kuniyoshi, has coorganized a retrospective of the artist's work at the Smithsonian American Art Museum.

Faustine’s series of self-portraits, titled "White Shoes," feature photographs of Faustine posing nude before New York landmarks where African men and women were once bought and sold.

President Botstein discusses this year’s SummerScape festival and its Latin American focus with the 26th Bard Music Festival, “Carlos Chávez and His World.”

"A new, experimental production at the Bard SummerScape festival in upstate New York is asking audiences to focus on the darker story behind the musical's well-known songs."

Professor Leonard’s photographs, on view at the Museum of Modern Art, show low-end commerce from New York to Africa, representing the human toll of corporate globalization.

Since beginning his career in the 1960s in Greenwich Village’s vibrant jazz scene, Professor Fink has become well known for his striking black-and-white images of New York’s elite at play.

The New Museum and the MIT Press launch Mass Effect: Art and the Internet in the Twenty-First Century, coedited by CCS Bard's Lauren Cornell and Bard College's Ed Halter.

Teju Cole assesses the work of Keïta in the context of other great African artists, such as Malick Sidibé and Zanele Muholi, with a focus on their images of West and South African women.

Bard SummerScape brings topnotch performers in the fields of music—including classical, opera and cabaret—as well as theater, dance and cinema to the Bard College campus each summer.

Soprano Clarissa Lyons ’11, alumna of the Bard College Conservatory of Music Graduate Vocal Arts Program (VAP), has been invited to join the Metropolitan Opera Lindemann Young Artist Development Program, capping an exciting year in which she was named the Grand Prize Winner at Florida Grand Opera’s Young Patronesses of the Opera Competition and the Glenn & Ginger Flournay Award Winner at Shreveport Opera’s Mary Jacobs Smith Singer of the Year Competition. In January, Lyons participated in The Song Continues series at Carnegie Hall, where she performed in a master class led by Warren Jones. She will return to Carnegie Hall in January 2016 to present a Spotlight Recital in Weill Hall as part of The Song Continues series alongside tenor Miles Mykkanen and pianist Ken Noda.

Julia Rosenbaum, associate professor of art history and faculty of the American Studies Program, has been named a senior fellow at the Smithsonian Institution in Washington, D.C., for the 2015-2016 academic year. The yearlong research fellowship will support Rosenbaum’s new project, “Curated Bodies: The Display of Science and Citizenry in Post-Civil War America,” which examines art, science, and representations of the body from the Civil War to World War II. Rosenbaum will be affiliated with the Smithsonian American Art Museum during her fellowship tenure.

Alumni of the joint MFA program between the International Center of Photography and Bard College demonstrate the evolution from the darkroom to digital processing in The Future is Forever.

Berrigan’s innovative rectangular poems are now available online at Bomb magazine.

CCS Bard graduate students and Director of the Graduate Program Paul O'Neill talk with artist Tania Bruguera about identifying and promoting artworks that are useful and beneficial to society.

The Center for Curatorial Studies, Bard College (CCS Bard) is pleased to announce a major expansion of its facilities. The $3 million expansion has been designed by New York-based architects, HWKN (Hollwich Kushner), and includes a complete interior re-build and expansion of the CCS Bard Library and Archives, in addition to doubling the number of teaching spaces and classrooms in the building. The expansion also includes a new 3,600 square foot Archives, Special Collections, Visible Storage, and Collection Teaching area designed by artist Liam Gillick, which will include a large wall drawing in colored ink wash by Sol LeWitt, Wall drawing #475, Double asymmetrical pyramids (1986), and two new wall vinyl acquisitions by Louise Lawler, all from the permanent collection. (New York Times)

Bard College presents Adrift: Photographs by Carolyn Marks Blackwood in the Weis Atrium of the Richard B. Fisher Center for the Performing Arts LUMA Theater from June 21 to August 17. The exhibition is open daily from 12 p.m. to 6 p.m and is free of charge. Rhinecliff-based photographer Carolyn Marks Blackwood’s Hudson River photographs reframe segments of air, ice, and water into vivid color fields, geometric abstractions, and flattened motifs. By removing perspective and context, her unmodified images seize ephemeral moments within everyday occurrences and heighten them into foreign, unfamiliar pictures. Fourteen of these large-scale images are presented in the Frank Gehry-designed Fisher Center as part of Bard SummerScape 2015.

The Center for Curatorial Studies, Bard College and the Human Rights Project at Bard College announce that Shuddhabrata Sengupta, an artist, curator, and writer based in Delhi, has been selected as the second winner of the Keith Haring Fellowship in Art and Activism. Made possible through a five year-grant from the Keith Haring Foundation, the Haring Fellowship is an annual award for a scholar, activist, or artist to teach and conduct research at CCS Bard and the Human Rights Project. Sengupta’s one-year appointment will begin in September 2015. He succeeds the Dutch artist Jeanne van Heeswijk, who has held the Fellowship during its inaugural year.

Professor Fink on his communist background, photographing the elite, and his hopes for the next generation of photographers.