News

Peter N. Miller considers the power of artifacts to conjure human history.

Bard alumna Lisa Oppenheim MFA '02 has made the short list for the Aimia | AGO Photography Prize. She and three other artists will compete for the $50,000 award.

This fall, The Richard B. Fisher Center for the Performing Arts at Bard College presents an extraordinary series of music, dance, art, and theater programs. The season features world-class musical performances, orchestral and chamber concerts, contemporary performance and art events, and innovative student productions from September through December.

Bard MFA faculty and alumna Amy Sillman '95 offers surprises and inspiration in new exhibition.

Works by Israeli artist and Bard graduate Orit Raff MFA '03 "transcend national identities, challenge assumptions and transport viewers." 

The National Alliance for Media Arts and Culture (NAMAC) has named Peggy Ahwesh, Bard College professor of film and electronic arts, as the winner of the 2014 NAMAC Artist Award. A faculty member at Bard since 1990, Ahwesh's expertise includes film production, feminist studies, and media advocacy. "Ultimately, Ahwesh has developed a practice that insists on political and social topicality, handled with theoretical and formal rigor, while remembering the audience," writes NAMAC’s board of directors in its award announcement. "It is her lighter touch that has helped make her work, densely critical as it is, so accessible to so many people." Professor Ahwesh will receive the award at NAMAC's State & Main conference in Philadelphia on August 8.

Bard College and the University of Witwatersrand collaborated on an innovative, interdisciplinary workshop on the arts and human rights at the Wits campus in Johannesburg, South Africa, August 5 to 7. A project of Bard and the Wits Institute for Social and Economic Research, the event featured presentations by curators, practicing artists, legal advocates, and social scientists. The workshop explored the intersections of human rights and the arts, aiming to foster an intellectual community across disciplines and institutions.

A midcareer retrospective of the work of photographer Anne Collier puts women with cameras front and center.

Acclaimed dancer and choreographer Bill T. Jones has received the National Medal of Arts from President Barack Obama.

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Bard's Euryanthe "marks a major historical milestone" with the first U.S. production in 100 years. Carl Maria von Weber's remarkable opera opens Friday.

The Center for Curatorial Studies at Bard presents "two magnificent but very different solo exhibitions," Amy Sillman: one lump or two and Anne Collier.

Bard writer in residence Teju Cole asked his 160,000 Twitter followers to tweet photos of their TVs during the World Cup. The result was an art project offering a synchronized global view of the games.

Bard College photography major turned couture model Louise Parker provides a unique look at quiet scenes backstage with her fellow models.

President Botstein's 20th season directing the American Symphony Orchestra featured "impressively conducted," "exhilarating," and "masterful" performances.

"Waterweavers ... is the most unassumingly beautiful show I’ve seen in New York this summer," writes Holland Cotter, and "you won't want to miss" Carrying Coca.

Bard alumna Gia Coppola '09 talks about making her first film, working with actor and author James Franco, and how professor Stephen Shore helped her get started.

In the Bardian

By William Stavru '87

During the past year, Gia Coppola ’09, somewhat reluctantly, has become a regular on the film festival circuit, with her feature film directorial and writing debut, Palo Alto, being screened—and lauded—at such prestigious venues as the Telluride, Venice, Toronto, and Tribeca film festivals. Coppola says, “Film festivals are scary to me, but if the cast and crew are with me, then they can be fun. We’re able to celebrate the work.” Based on the eponymous collection of stories by James Franco (Scribner’s, 2010), who also stars in the film, Palo Alto details the troubled lives of a group of high school students in Palo Alto, California, exploring the teenagers’ characters and how their exploits and relationships become searches for meaning.

Coppola, who admits that her own high school years were neither fun nor productive, says she felt a kinship to the characters and was drawn to the dialogue and sense of teen malaise conveyed in the book. “In 2010, I met James Franco and we started talking about photography and about his book. I read it and thought the language and mood were spot on for the world he was creating, so we decided to turn it into a film,” she says.

In the book, myriad characters wander in and out of interlinked stories, so Coppola had a challenge in adapting the collection. “I had to combine characters and focus on the meatier stories, letting others go. James gave me some good advice along the way,” she says. “One of my biggest surprises in writing the screenplay—aside from discovering how lonely and draining writing can be—is that the film goes through several filtrations until it becomes something very different than what you’ve started with. Over time, the script almost starts to tell you what it needs to be.”

Coppola and her small crew started filming on Halloween 2012 in Woodland Hills and other neighborhoods of the San Fernando Valley north of Los Angeles. She says, “The shoot was low-budget and very familial; the boys [the crew] lived in my mom’s house and I often cooked dinner for them.” They wrapped in 30 days.

With the surname Coppola, one can expect that Gia is genetically predisposed to a life behind a camera lens. She is matter of fact when discussing her large, dynastic Hollywood family. Sticking to a short list of who’s who: Her grandfather is director/writer/wine producer/hotelier Francis Ford Coppola (The Godfather films, Apocalypse Now); her aunt is director/writer Sofia Coppola (Lost in Translation, The Virgin Suicides); her cousins are accomplished actors Nicholas Cage and Jason Schwartzman. She appreciates the many talents of each, especially her aunt and grandfather. “I love my grandfather’s work—I just rewatched The Conversation—and Sofia’s films,” she says.

Although she was determined to maintain a healthy distance from her family in order to find her own voice as a writer and a filmmaker, she did seek guidance regarding the business aspects of filmmaking. “My grandpa gave me some advice in dealing with industry executives and the money people—it’s incredibly hard to find financing, and even harder to figure out distribution. Sofia, as a young, soft-spoken woman director, had dealt with the same issues I was facing. Even though I know I have great people to turn to, I didn’t want my family’s ideas to infiltrate my work too much or rely too heavily on those connections.”

Coppola maintains that, regardless of the amount of help, nothing could have equipped her for directing her first project. “There’s no way you can be prepared for your first film; you just feel like a teenager going through very teenage insecurity,” she says. “My grandpa likes to say that directing is all about problem solving and that you need to learn to love anxiety. That’s true.”

Postproduction brought the young filmmaker other important teachable moments. Coppola says, “I learned the most in the editing room. When you’re shooting, you work from a script and let the film take its course. But I didn’t fully understand how important editing is and how it can dramatically change the look and tone of the film.”

One thing Coppola did understand before directing her film is how to use a camera, which she learned as a photography major at Bard. She chose the College in order to study with Stephen Shore, Susan Weber Professor in the Arts and director of Bard’s Photography Program. “I was a fan of Stephen’s work, so I studied photography,” she says, adding that she also enjoyed working with Gregory Moynahan and Robert Culp, both associate professors of history, who taught “an interesting class on revolutions.” Shore agreed to advise Coppola; her Senior Project was an exhibition of street and diaristic photography. “I liked the idea that Bard was close to New York City, but I could have a rural college experience,” she says. “I also liked that Bard is a liberal arts college but one that has a very creative environment.”

After graduation she tried bartending (“I liked making gin martinis, served cold, cold, cold!”) and booked work as a fashion photographer. “I was just trying to find work that inspired me. Then I shot behind the scenes on the set of Twixt, my grandfather’s film that came out in 2011. That’s where I learned a lot about how a movie is made.”

Variety said Palo Alto “brings a fresh humanity” to the topic of disaffected modern youth: “Coppola’s adaptation balances the tired sensationalism of kids behaving badly with a welcome dose of sympathy. . . . Coppola cycles through a wide range of emotions, from humor to horror, as these not-quite-kids, not-quite-adults pick fights, deface public property and seek easy gratification . . . [Palo Alto] boasts a clear and confident voice of its own, and it will be exciting to see where the young Coppola goes from here.”

With her first feature film complete, Coppola is enjoying having more down time, which she spends reading books (she was in the middle of John O’Hara’s Appointment in Samarra at the time of this interview) and considering future projects. “I’m not sure what I will do next,” she says. “I have some original ideas, but I don’t know if they will go anywhere. A dream project would be to adapt a story by Raymond Chandler. It would be fun to modernize an old mystery the way [director Robert] Altman did with The Long Goodbye.”

Palo Alto is set for wide release in June, following a limited release in Los Angeles and New York.

Read the spring 2014 issue of the Bardian:

"Abstract painting is on the move in 'Amy Sillman: one lump or two,' a spirited midcareer survey at Bard College’s Center for Curatorial Studies."

Nina Stritzler-Levine, gallery director at the BGC, gives NYC-Arts a tour of the exhibition Waterweavers: The River in Contemporary Colombian Visual and Material Culture.