Bard’s highly selective, unique, and specialized graduate programs have attracted incredible artists, scholars, curators, and policymakers—all of whom now make up an integral part of the Bard community. Everyone with a Bard degree is a Bardian—from an early college AA graduate to a PhD recipient. We are glad you are here. This is a place where all Bardians can connect, find news of their fellow alumni/ae, and get involved in volunteer opportunities.
Photo by Pete Mauney ’93 MFA ’00
Stay in Touch
Keep your records up to date in the alumni/ae directory. The Alumni/ae Association sends out a monthly e-newsletter, The Triangle, which is filled with alumni/ae news, news of the College, and upcoming events. We also send important messages from the College and news on networking events and alumni/ae achievements. Alumni/ae receive snail mail invitations to reunions, holiday parties, and our biannual magazine, The Bardian. Email [email protected] to receive the Triangle or the What's New at Bard weekly update, sent by the Office of Communications. Follow us on social media to make sure you are getting the most out of your Alumni/ae Association.
Join the Conversation
#bardianandproud
Professor Christian Crouch.
Photo by Chris Bertholf
Photo by Chris Bertholf
Christian Crouch, Dean of Graduate Studies at Bard College
Dean of Graduate Studies and Associate Professor of History and American and Indigenous Studies Christian Ayne Crouch has been teaching at Bard since 2014. Her work focuses on the histories of the early modern Atlantic, comparative slavery, American material culture, and Native American and Indigenous Studies. She holds a PhD and an MA with distinction in Atlantic history from New York University, and an AB cum laude in history from Princeton University.
Graduate Alumni/ae News
Pocketbook Issues Such as Raising Minimum Wages, Paid Leave, and Protecting Public Education Could Sway the American Electorate, New Levy Economics Institute Report Says
"Americans are far more progressive than either party gives them credit for. Whatever path forward Democrats choose, winning back the working class would be a long process without a big and bold vision,” says coauthor Pavlina R. Tcherneva.
Pocketbook Issues Such as Raising Minimum Wages, Paid Leave, and Protecting Public Education Could Sway the American Electorate, New Levy Economics Institute Report Says
Blithewood, home to the Levy Economics Institute of Bard College.
Long-Term Voting Trends Show Democrats Losing Working Class Support Due to Absence of Clear Vision for Popular Progressive Economic Policies
The Levy Economics Institute of Bard College has published a policy brief outlining economic policies that improve the lives of working-class families and could sway the American electorate. That “Vision Thing”: Formulating a Winning Policy Agenda, Levy Public Policy Brief No. 158, coauthored by Levy Economics Institute President Pavlina R. Tcherneva and Senior Scholar L. Randall Wray, analyzes the shifting allegiances of American voters over the decades as the Democratic Party lost the support of its traditional base—blue-collar and rural counties—and came to be seen as the party of the educated elite, socially liberal, and relatively economically secure.
“Trump was the beneficiary of a long-term retreat of working-class voters from the Democratic Party. But becoming the party of the economically secure in a world of runaway inequality, rising precarity, and widespread frustration with many aspects of the economy does not and will not win elections. Still, as we show in this report, Americans are far more progressive than either party gives them credit for. Whatever path forward Democrats choose, winning back the working class would be a long process without a big and bold vision,” says Tcherneva.
For the first time since 1960, Democrats earned a greater margin of support among the richest third of American voters in 2024 than they did among the poorest or middle third. Meanwhile, Trump gained more vote share in counties rated as distressed—and gained less in prosperous counties—despite those counties benefiting significantly and performing better economically under President Biden’s policies that boosted government assistance. In spite of the Democratic focus on inequality, the party fails to reach the financially disadvantaged (who are the true swing voters) with their message, the report asserts.
“Democrats had neither delivered on nor even highlighted the changes that many voters wanted: policies that would provide economic benefits. They were tired of inflation that reduced purchasing power, wages that remained too low (even in supposedly good labor markets) to support their families, and many other issues related to economic precarity, including the costs of healthcare, prescription drugs, childcare and—for a significant portion—college,” write Tcherneva and Wray.
Assessing ballot measures and polling data, the Levy report identifies worker-friendly policies that would improve the wellbeing of the American working class and win elections. “Americans seem to apply two litmus tests to any proposed policy: (1) how will it impact American jobs and (2) how will it impact American paychecks,” they find. “If tariffs are expected to protect jobs, voters are behind them. If they hurt their paychecks, even conservative-leaning voters are strongly against them.”
Ballot measures indicate voters are more progressive than either party recognizes. Winning policies include: raising minimum wages, lowering taxes on earned income and social security (or eliminating them altogether for tips), making healthcare and education more affordable, protecting funding for public schools, increasing Pell grants, reducing the costs of higher education, and implementing paid sick and family leaves. Importantly, whenever asked, Americans strongly support federal programs of direct employment and on-the-job training—in the form of a federal job guarantee or national service for youths in jobs that support the community and the environment. They also care about rebuilding public infrastructure and investing in arts and culture.
Moreover, voters want policies that protect them from price increases, corporate greed, predatory interest rates, and hidden fees. They support more progressivity in the tax system and fewer tax loopholes for billionaires. They are tired of the dominance of billionaires in lobbying by special interests and campaign finance.
“Employment security, economic mobility, community rehabilitation, and environmental sustainability are winning messages. But they are especially powerful when anchored in concrete policies that directly deliver what they promise—good jobs, good pay, decent benefits, affordable health, education, food, and a peace of mind that Americans can care for loved ones without the threat of unemployment or price shocks or the loss of essential benefits,” the report concludes.
Post Date: 03-10-2025
CCS Bard’s 2025 Graduating Class Critically Reimagines the Present in 15 Curatorial Projects
The projects point, in the students’ words, “to a deep engagement with histories that reverberate back and forth in time to critically reimagine the present.”
CCS Bard’s 2025 Graduating Class Critically Reimagines the Present in 15 Curatorial Projects
Prune Phi, Cơm, 2025, in the exhibition Bảy nổi ba chìm – Seven up Three down.
The graduate exhibition is a core component of CCS Bard’s master’s program, which offers each student the opportunity to organize an independent project involving new commissions, original research into artists’ practices, and engagement with CCS Bard’s extensive archives and the Marieluise Hessel Collection. Past student-curated exhibitions have served as springboards for artists in the earliest stages of their careers, deep scholarship into historic movements and tendencies, and as the basis for ongoing curatorial investigations by CCS Bard graduates at other leading museums, galleries, and arts organizations around the world.
Representing individual curatorial concerns and strategies, this year’s projects range from exhibitions that explore digital dystopias, media circulation, competing histories and memory, and underrepresented artists and archives.15 unites work by nearly 50 artists, including:
| Kobby Adi Hangama Amiri Zafar Attaii Robert Barry Simon Benjamin Lois Bielefeld Manon de Boer Marina Christodoulidou Lê Đình Chung David Michael DiGregorio Azadeh Elmizadeh Peter Eramian Theresa Faison Madeline Gins Ella Gonzales Essex Hemphill Jason Hirata Narcisa Hirsch Sung Hwan Kim Char Jeré Wayson Jones | Joyce Joumaa Eugene Jung Lotus L. Kang Jackie Karuti Poul Kjærholm Ryan Kuo Pierre Leguillon Ghislaine Leung Lovett/Codagnone Keli Safia Maksud Raimundas Malašauskas Jaguar Mary X John Menick Audie Murray Daphné Nan Le Sergent boma pak Malcolm Peacock Prune Phi Arlette Quỳnh-Anh Trần Collin Riggins Marlon Riggs | Colin Robinson Xavier Robles de Medina Harris Rosenblum Luiz Roque Natascha Sadr Haghighian Suneil Sanzgiri Zelikha Zohra Shoja Tiffany Sia Viktor Timofeev Julie Tolentino Iris Touliatou Ricardo Valentim Javier Villanueva Latifa Jiajia Zhang Bruno Zhu Rosario Zorraquín |
CCS Bard Graduate Student Curatorial Statements
Full curatorial statements are linked in the exhibition titles.
gap gap gap / گپ گپ گپ
Featured artists: Hangama Amiri, Latifa Zafar Attaii, Zelikha Zohra Shoja
Curated by Zuhra Amini
How do photographs condition our perceptions of the self, family, and community? gap gap gap / گپ گپ گپ brings together three contemporary Afghan artists who refigure personal, everyday photos through the slow, careful process of needlework. Transformed by time and scale, their resulting works—situated at the intersection of photography and fiber art—monumentalize the careful, demanding process of suturing relationships that have ruptured in the aftermath of displacement.
The Edge of Belongings
Featured artists: Eugene Jung, boma pak, Jiajia Zhang, Bruno Zhu
Curated by Jungmin Cho
Ubiquitous consumer goods with designated lifespans, from digital devices to fast fashion and souvenirs to construction materials, carry a dual weight: physical and emotional. We form real bonds with them, yet they are intended to become obsolete, outmoded, or unwanted, encouraging repeat consumption and disposal. This exhibition—featuring Eugene Jung, boma pak, Jiajia Zhang, and Bruno Zhu—observes the unexpected intimacies we feel with common and disposable objects and how these connections reflect broader socioeconomic structures.
Sung Hwan Kim: Queer bird faces
Featured artists: Sung Hwan Kim
Curated by Hayoung Chung
Queer bird faces presents films and excerpts from Sung Hwan Kim’s ongoing research into undocumented early 20th-century Korean immigration to Hawaiʻi. Kim’s visual re-creations—through enigmatic narratives, nonbinary figures, and idiosyncratic subtitles—invite us to envision these immigrants’ systematic erasure from history and education shaped by national boundaries. An exhibition publication featuring poems by early Korean immigrants to the U.S. and a concert by David Michael DiGregorio accompany.
Bảy nổi ba chìm – Seven up Three down
Featured artists: Lê Đình Chung, Daphné Nan Le Sergent, Prune Phi, Xavier Robles de Medina, and Arlette Quỳnh-Anh Trần
Curated by Đỗ Tường Linh
Bảy nổi ba chìm – Seven up Three down pays homage to Hàm Nghi (1871–1944), an Annamese (modern-day Vietnamese) emperor who became the country’s first modern artist while in exile in Algeria. The exhibition weaves together the works of Lê Đình Chung, Daphné Nan Le Sergent, Prune Phi, Xavier Robles de Medina, and Arlette Quỳnh-Anh Trần, all of whom traverse and echo hidden histories related to Hàm Nghi and his time to reinterpret, reimagine, and breathe life into both the present and the future.
dearmuthafuckindreams,
Featured artists: Essex Hemphill, Char Jeré, Wayson Jones, Malcolm Peacock, Collin Riggins, Marlon Riggs, Colin Robinson, and Jaguar Mary X
Curated by Omar Jason Farah
dearmuthafuckindreams, sits in the power and possibility of emerging artists convening with their black queer ancestors. Bringing together photographs by Collin Alexander Riggins and Colin Robinson, words by Malcolm Peacock, Wayson Jones, and Essex Hemphill, and films by Char Jeré, Jaguar Mary X, and Marlon Riggs, the exhibition’s polyvocal and intergenerational voice speaks to the continuity and dynamism of the black queer radical tradition from the 1980s to today.
The Appearance of Distance
Featured artists: Tiffany Sia, Kobby Adi, Jackie Karuti
Curated by Matthew Lawson Garrett
The Appearance of Distance is an exhibition featuring artists whose work addresses the materiality of images and the relationship between their movement and the space through which they circulate. Works by Tiffany Sia, Kobby Adi, and Jackie Karuti respond to today’s media environment by introducing frictions, revealing how the movement of images within apparently ethereal networks leave material traces on both the surface of images and the physical landscapes through which they pass.
a clear veil
Featured artists: Azadeh Elmizadeh, Ella Gonzales, Lotus L. Kang, and Audie Murray
Curated by Cicely Haggerty
Through methods of blurring, folding, layering, and concealing, the artists included in a clear veil create tensions—visually, materially, and conceptually—between what is revealed and what is not about themselves and their works. Acting as both refusals and invitations, the works of Azadeh Elmizadeh, Ella Gonzales, Lotus L. Kang, and Audie Murray approach the threshold of visibility without ever becoming fully clear.
CONCRETE
Featured artists: Robert Barry, Jason Hirata, and Ghislaine Leung
Curated by Lekha Jandhyala
Three artists, Robert Barry, Jason Hirata, and Ghislaine Leung, take CONCRETE as a site to expose the unseen and indeterminate systems that construct and condition a viewing experience.
Mutable Cycles
Featured artist: Joyce Joumaa, Iris Touliatou, Natascha Sadr Haghighian, Marina Christodoulidou, and Peter Eramian
Curated by Ariana Kalliga
Mutable Cycles is a group exhibition exploring the dismantling of public infrastructures in service of private profit. The featured artists turn to recent histories of financial fallout and its aftermaths—from collective struggles over home foreclosures in Cyprus since 2012–13, to the 2019 solar energy boom in Lebanon—in order to think through debt, property, and the right to public goods. Mutable Cycles features work by Joyce Joumaa, Iris Touliatou, Natascha Sadr Haghighian, Marina Christodoulidou, and Peter Eramian.
Intercession
Featured artists: Lois Bielefeld, Ryan Kuo, Harris Rosenblum and Theresa Faison (for Transcendence Creative), and Viktor Timofeev
Curated by Audrey Min
Intercession considers a spirit that seems to animate the digital devices that help us participate in pleasure, social life, ethics, and politics. Despite—or perhaps because of—the intimacy of this human-computer partnership, digital technology often seems to act as if by magic or prayer. Works by Lois Bielefeld, Ryan Kuo, Harris Rosenblum and Theresa Faison (for Transcendence Creative), and Viktor Timofeev play with digital interfaces and the significance of their role in analog life.
Would We Recognize Ourselves Unbroken
Featured artists: Simon Benjamin, Keli Safia Maksud, and Suneil Sanzgiri
Curated by Sibia Sarangan
Would We Recognize Ourselves Unbroken brings together recent works by Simon Benjamin, Keli Safia Maksud, and Suneil Sanzgiri that assert lived experience and collective memory over official histories. Drawing from archives and long-term research, the featured artists subvert entrenched paradigms of temporality and identity by working across past and present, fiction and truth—or what we have come to believe is the truth.
Lovett/Codagnone: Each Man Kills the Thing He Loves
Featured artists: Lovett/Codagnone and Julie Tolentino
Curated by Andrew Suggs
Each Man Kills the Thing He Loves draws from the archive of artist team Lovett/Codagnone to foreground the transmission of queer lineages, specifically as impacted and shaped by HIV/AIDS. In addition to the re-creation of Lovett/Codagnone’s studio walls—featuring hundreds of pieces of ephemera related to queer histories—Closer, a Lovett/Codagnone performance from 1998, is archived and given new form by longtime collaborator Julie Tolentino.
à
Artists: Manon de Boer, Poul Kjærholm, Pierre Leguillon, Raimundas Malašauskas, John Menick, Ricardo Valentim, and Javier Villanueva
A conversation about time takes the form of an exhibition at the Hessel Museum of Art.
Right now I’m not there
Featured artists: Narcisa Hirsch, Luiz Roque, and Rosario Zorraquín
Curated by Micaela Vindman
Right now I’m not there focuses on the process of bringing inner aspects of oneself to the surface. Drawing from video, sculpture, and painting the works of Narcisa Hirsch, Luiz Roque, and Rosario Zorraquín explore what happens when fragmented inner worlds are shaped through visual media and brought into our public world. The exhibition reveals the strangeness and discomfort of sharing what is most personal—and the trouble we might have with recognizing what we find.
Madeline Gins: Infinite Systems
Featured artists: Madeline Gins
Curated by Charlotte Youkilis
Infinite Systems presents works by Madeline Gins (1941–2014), an artist and writer whose practice tested the limits of human cognition and sensory perception. This exhibition—the first solo presentation on Gins—shifts the focus from her collaborations with her husband, Arakawa, under the moniker Arakawa+Gins, to her rarely shown independent practice. A selection of her writing and visual works from the 1960s to the 2000s, many exhibited for the first time, are displayed alongside archival materials, including ephemera, manuscripts, and photographs drawn from the Reversible Destiny Foundation.
Full curatorial statements are linked in the exhibition titles.
gap gap gap / گپ گپ گپ
Featured artists: Hangama Amiri, Latifa Zafar Attaii, Zelikha Zohra Shoja
Curated by Zuhra Amini
How do photographs condition our perceptions of the self, family, and community? gap gap gap / گپ گپ گپ brings together three contemporary Afghan artists who refigure personal, everyday photos through the slow, careful process of needlework. Transformed by time and scale, their resulting works—situated at the intersection of photography and fiber art—monumentalize the careful, demanding process of suturing relationships that have ruptured in the aftermath of displacement.
The Edge of Belongings
Featured artists: Eugene Jung, boma pak, Jiajia Zhang, Bruno Zhu
Curated by Jungmin Cho
Ubiquitous consumer goods with designated lifespans, from digital devices to fast fashion and souvenirs to construction materials, carry a dual weight: physical and emotional. We form real bonds with them, yet they are intended to become obsolete, outmoded, or unwanted, encouraging repeat consumption and disposal. This exhibition—featuring Eugene Jung, boma pak, Jiajia Zhang, and Bruno Zhu—observes the unexpected intimacies we feel with common and disposable objects and how these connections reflect broader socioeconomic structures.
Sung Hwan Kim: Queer bird faces
Featured artists: Sung Hwan Kim
Curated by Hayoung Chung
Queer bird faces presents films and excerpts from Sung Hwan Kim’s ongoing research into undocumented early 20th-century Korean immigration to Hawaiʻi. Kim’s visual re-creations—through enigmatic narratives, nonbinary figures, and idiosyncratic subtitles—invite us to envision these immigrants’ systematic erasure from history and education shaped by national boundaries. An exhibition publication featuring poems by early Korean immigrants to the U.S. and a concert by David Michael DiGregorio accompany.
Bảy nổi ba chìm – Seven up Three down
Featured artists: Lê Đình Chung, Daphné Nan Le Sergent, Prune Phi, Xavier Robles de Medina, and Arlette Quỳnh-Anh Trần
Curated by Đỗ Tường Linh
Bảy nổi ba chìm – Seven up Three down pays homage to Hàm Nghi (1871–1944), an Annamese (modern-day Vietnamese) emperor who became the country’s first modern artist while in exile in Algeria. The exhibition weaves together the works of Lê Đình Chung, Daphné Nan Le Sergent, Prune Phi, Xavier Robles de Medina, and Arlette Quỳnh-Anh Trần, all of whom traverse and echo hidden histories related to Hàm Nghi and his time to reinterpret, reimagine, and breathe life into both the present and the future.
dearmuthafuckindreams,
Featured artists: Essex Hemphill, Char Jeré, Wayson Jones, Malcolm Peacock, Collin Riggins, Marlon Riggs, Colin Robinson, and Jaguar Mary X
Curated by Omar Jason Farah
dearmuthafuckindreams, sits in the power and possibility of emerging artists convening with their black queer ancestors. Bringing together photographs by Collin Alexander Riggins and Colin Robinson, words by Malcolm Peacock, Wayson Jones, and Essex Hemphill, and films by Char Jeré, Jaguar Mary X, and Marlon Riggs, the exhibition’s polyvocal and intergenerational voice speaks to the continuity and dynamism of the black queer radical tradition from the 1980s to today.
The Appearance of Distance
Featured artists: Tiffany Sia, Kobby Adi, Jackie Karuti
Curated by Matthew Lawson Garrett
The Appearance of Distance is an exhibition featuring artists whose work addresses the materiality of images and the relationship between their movement and the space through which they circulate. Works by Tiffany Sia, Kobby Adi, and Jackie Karuti respond to today’s media environment by introducing frictions, revealing how the movement of images within apparently ethereal networks leave material traces on both the surface of images and the physical landscapes through which they pass.
a clear veil
Featured artists: Azadeh Elmizadeh, Ella Gonzales, Lotus L. Kang, and Audie Murray
Curated by Cicely Haggerty
Through methods of blurring, folding, layering, and concealing, the artists included in a clear veil create tensions—visually, materially, and conceptually—between what is revealed and what is not about themselves and their works. Acting as both refusals and invitations, the works of Azadeh Elmizadeh, Ella Gonzales, Lotus L. Kang, and Audie Murray approach the threshold of visibility without ever becoming fully clear.
CONCRETE
Featured artists: Robert Barry, Jason Hirata, and Ghislaine Leung
Curated by Lekha Jandhyala
Three artists, Robert Barry, Jason Hirata, and Ghislaine Leung, take CONCRETE as a site to expose the unseen and indeterminate systems that construct and condition a viewing experience.
Mutable Cycles
Featured artist: Joyce Joumaa, Iris Touliatou, Natascha Sadr Haghighian, Marina Christodoulidou, and Peter Eramian
Curated by Ariana Kalliga
Mutable Cycles is a group exhibition exploring the dismantling of public infrastructures in service of private profit. The featured artists turn to recent histories of financial fallout and its aftermaths—from collective struggles over home foreclosures in Cyprus since 2012–13, to the 2019 solar energy boom in Lebanon—in order to think through debt, property, and the right to public goods. Mutable Cycles features work by Joyce Joumaa, Iris Touliatou, Natascha Sadr Haghighian, Marina Christodoulidou, and Peter Eramian.
Intercession
Featured artists: Lois Bielefeld, Ryan Kuo, Harris Rosenblum and Theresa Faison (for Transcendence Creative), and Viktor Timofeev
Curated by Audrey Min
Intercession considers a spirit that seems to animate the digital devices that help us participate in pleasure, social life, ethics, and politics. Despite—or perhaps because of—the intimacy of this human-computer partnership, digital technology often seems to act as if by magic or prayer. Works by Lois Bielefeld, Ryan Kuo, Harris Rosenblum and Theresa Faison (for Transcendence Creative), and Viktor Timofeev play with digital interfaces and the significance of their role in analog life.
Would We Recognize Ourselves Unbroken
Featured artists: Simon Benjamin, Keli Safia Maksud, and Suneil Sanzgiri
Curated by Sibia Sarangan
Would We Recognize Ourselves Unbroken brings together recent works by Simon Benjamin, Keli Safia Maksud, and Suneil Sanzgiri that assert lived experience and collective memory over official histories. Drawing from archives and long-term research, the featured artists subvert entrenched paradigms of temporality and identity by working across past and present, fiction and truth—or what we have come to believe is the truth.
Lovett/Codagnone: Each Man Kills the Thing He Loves
Featured artists: Lovett/Codagnone and Julie Tolentino
Curated by Andrew Suggs
Each Man Kills the Thing He Loves draws from the archive of artist team Lovett/Codagnone to foreground the transmission of queer lineages, specifically as impacted and shaped by HIV/AIDS. In addition to the re-creation of Lovett/Codagnone’s studio walls—featuring hundreds of pieces of ephemera related to queer histories—Closer, a Lovett/Codagnone performance from 1998, is archived and given new form by longtime collaborator Julie Tolentino.
à
Artists: Manon de Boer, Poul Kjærholm, Pierre Leguillon, Raimundas Malašauskas, John Menick, Ricardo Valentim, and Javier Villanueva
A conversation about time takes the form of an exhibition at the Hessel Museum of Art.
Right now I’m not there
Featured artists: Narcisa Hirsch, Luiz Roque, and Rosario Zorraquín
Curated by Micaela Vindman
Right now I’m not there focuses on the process of bringing inner aspects of oneself to the surface. Drawing from video, sculpture, and painting the works of Narcisa Hirsch, Luiz Roque, and Rosario Zorraquín explore what happens when fragmented inner worlds are shaped through visual media and brought into our public world. The exhibition reveals the strangeness and discomfort of sharing what is most personal—and the trouble we might have with recognizing what we find.
Madeline Gins: Infinite Systems
Featured artists: Madeline Gins
Curated by Charlotte Youkilis
Infinite Systems presents works by Madeline Gins (1941–2014), an artist and writer whose practice tested the limits of human cognition and sensory perception. This exhibition—the first solo presentation on Gins—shifts the focus from her collaborations with her husband, Arakawa, under the moniker Arakawa+Gins, to her rarely shown independent practice. A selection of her writing and visual works from the 1960s to the 2000s, many exhibited for the first time, are displayed alongside archival materials, including ephemera, manuscripts, and photographs drawn from the Reversible Destiny Foundation.
Exhibition Credits
The graduate student-curated exhibitions and projects at CCS Bard are part of the requirements for the master of arts degree and are made possible with support from Lonti Ebers; Robert Soros and the Enterprise Foundation; the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Robert Mapplethorpe Foundation; The Wortham Foundation; the Board of Governors of the Center for Curatorial Studies; and the Center’s Patrons, Supporters, and Friends.
Post Date: 03-06-2025
Bard College Named One of Condé Nast’s 54 Most Beautiful College Campuses in the US
The list collects over 50 campuses across the country that “offer far more than a place to hit the books.”
Bard College Named One of Condé Nast’s 54 Most Beautiful College Campuses in the US
The Fisher Center. Photo by Peter Aaron ’68
Condé Nast describes Bard’s campus as “one of a kind,” mentioning the College’s Greek Revival, postmodern, and brutalist building styles. The list invites readers to “wander between Blithewood Manor’s walled Italian gardens, the Greek Revival-style Hoffman Memorial Library, and Frank Gehry’s titanium-clad, contemporary Fisher Center for the Performing Arts.”
Post Date: 03-04-2025