News

Chan’s “singular artistic voice” and versatile practice won him the prestigious award, which includes a $100,000 prize and an exhibition at the Guggenheim Museum.

Bard alumnus Joseph Silovsky '91 mixes theater and robotics in his new play, Send for the Million Men.

The ICP-Bard MFA program hosts the symposium "What’s Love Got To Do with It: Affect, Interactivity and the Haptic" on Saturday, December 13, 10 a.m. – 4 p.m.

David Parker ’81 choreographs this new take on Tchaikovsky's Nutcracker, with "enough creative pluckiness to reawaken the holiday spirit." Performances December 20–21.

Last week's The House Is Open at Bard's Fisher Center was "an inventive and thoughtfully assembled exhibition ... blurring lines between performance and visual art."

Alumna Hannah Bronfman is making a name for herself playing top fashion and arts events and opening for stars like John Legend.

Author and musician Amanda Palmer discusses her new book, her radical approach to the music business, and life in the public eye.

What might happen if a performing arts center temporarily reimagined itself as an art museum? From November 20 to 23, the Fisher Center for the Performing Arts presents The House Is Open, an inquisitive and playful pop-up installation and performance event that attempts to answer this question, examining the complex interplay between contemporary art and performance. Performance has recently entered, and occasionally transformed, visual arts institutions, but performing arts centers have been comparatively unaffected by the art world’s embrace of live performance. This fall, The House Is Open inverts the performer-in-a-museum paradigm by transforming the Frank Gehry-designed Fisher Center for the Performing Arts into a temporary art museum.

This work-in-progress "easily has the makings of a professional production," writes Seth Rogovoy.

Montserrat Albores Gleason's “Hotel Palenque Is Not in Yucatan" is the culmination of her three-year curatorial fellowship at the Center for Curatorial Studies at Bard.

E-flux covered CCS Bard's international curatorial symposium in Annandale, The Future Curatorial What Not and Study What? Conundrum.

Take a tour of Professor Pfaff's Tivoli sculpture studio and learn about her two new solo exhibitions.

Visiting Artist in Residence Geoff Sobelle's play, The Object Lesson, is a New York Times Critics' Pick.

Bard College is proud to announce a substantial donation from the LUMA Foundation. The donation, to support Bard’s programs across the curriculum, will be recognized with the naming of the LUMA Theater at Bard’s Richard B. Fisher Center for the Performing Arts, designed by Frank Gehry, in a ceremony at the Center on November 7. The naming of the LUMA Theater will also be celebrated with a special performance of a new music/theater work developed by composer, writer, and performer Amanda Palmer, in collaboration with current and former Bard students, coproduced with Live Arts Bard.

Chronogram interviews musician, writer, and performer Amanda Palmer ahead of this weekend's sold out production of The Bed Show, a collaboration with Bard students and alumni/ae.

Lisa Oppenheim is the recipient of the prestigious Aimia | AGO Photography Prize which carries a $50,000 CAD prize in addition to a six-week, fully funded residency.

Twenty-five years after the fall of the Berlin Wall, Bard College Berlin coorganized a major public conference on Germany’s most important postwar dramatist, Heiner Müller (1929–1995). The event, held October 3 to 5, brought together political thinkers, critics, scholars, actors, and directors to explore the significance of Heiner Müller for the theater, politics, and literature of our own century. During the conference Bard students from Annandale and Berlin had a chance to meet some of Germany’s most prominent thought leaders.

Twenty-five years after the fall of the Berlin Wall, Bard College Berlin coorganized a major public conference on Germany’s most important postwar dramatist, Heiner Müller (1929–1995). At the time of his death, Müller was one of the most influential cultural figures in Germany, serving as president of the newly unified German Academy of Arts and as codirector of the famed Berliner Ensemble (the theater Bertolt Brecht had founded in East Berlin some 50 years before). 

The conference, held October 3 to 5, took place partly in the former West German Academy of Arts in Berlin’s Tiergarten and partly in the Academy’s historical seat in the former East Berlin, next to the Brandenburg Gate. The event was featured in newspapers and magazines throughout Germany. 

Heiner Müller (c) Lothar Deus

During the conference Bard students from Annandale and Berlin had a chance to meet, listen and talk to some of Germany’s most prominent theater-makers, intellectuals, and political thinkers. Presenters included Gregor Gysi, leader of the opposition in the German parliament (Bundestag); Thomas Martin, chief dramaturg of Berlin’s celebrated Volksbühne theater; Wolfgang Engler, president of the country’s preeminent theater school; Ivica Buljan, head of the Zagreb International Theatre Festival; and many others. Scholars and theater critics from the United States such as Jonathan Kalb (Hunter College, CUNY) also participated. In a particularly popular format called “table talks,” long-time collaborators and friends of the playwright, such as the actor Hermann Beyer and the director B. K. Tragelehn, immersed themselves in informal conversations with conference guests. 

Fifteen Bard students from the Berlin and Annandale campuses worked on different aspects of the conference, ranging from the preparation of publicity material to information technology and audio support, video documentation, catering, and much more.    

Jens Reich, a leader of the civil resistance to the East German regime and former candidate for president of Germany, who is also a molecular biologist and a member of the faculty and board of Bard College Berlin, led a discussion with Gregor Gysi and the eminent Germanist Jost Hermand (University of Wisconsin, Madison) on the future of left politics in Germany. In their conversation, Reich and Gysi recalled the experience of addressing, alongside Heiner Müller and just five days before the fall of the Wall, the largest demonstration East Berlin had ever seen.

David Levine, professor of art at Bard College Berlin and an OBIE Award–winning director and installation artist, spoke about his 2007 performance piece that drew on a character from one of Müller’s early plays to reflect on the work of the actor. Literary translator and Bard Vice President for Special Global Initiatives Susan H. Gillespie discussed her current work on Müller’s late poetry. 

The conference was organized by Florian Becker, associate professor of German at Bard College and director of Bard programs in Berlin, together with Janine Ludwig and Anja Quickert, his colleagues on the board of the International Heiner Müller Society. It was funded by a competitive grant from the German Ministry of Economics and Energy (BMWi) and received supplementary support from several other cultural foundations and educational institutions, including Bard College Berlin.

View photos from the conference here.

Life, death, colonialism, and cultural blending ... Professor Susan Aberth talks about the Dia de los Muertos tradition in Mexico.

Opus 40, the 6 1/2 acre outdoor sculpture created by Bard alumnus and faculty member Harvey Fite, has been named to the prestigious 2014 list of endangered landscapes by The Cultural Landscape Foundation.