Newsmakers

The John Simon Guggenheim Memorial Foundation has awarded a 2024 Guggenheim Fellowship to Adam Shatz, visiting professor of the humanities at Bard College. Chosen through a rigorous review process from 3,000 applicants, Shatz was among 188 scholars, photographers, novelists, historians, and data scientists to receive a 2024 Fellowship. Bard MFA faculty and alumna Lotus Kang MFA ’15, and alumnae Katherine Hubbard MFA ’10 and Ahndraya Parlato ’02 were also named Guggenheim Fellows for 2024. 

“Humanity faces some profound existential challenges,” said Edward Hirsch, President of the Guggenheim Foundation and 1985 Fellow in Poetry. “The Guggenheim Fellowship is a life-changing recognition. It’s a celebrated investment into the lives and careers of distinguished artists, scholars, scientists, writers and other cultural visionaries who are meeting these challenges head-on and generating new possibilities and pathways across the broader culture as they do so.”

In all, 52 scholarly disciplines and artistic fields, 84 academic institutions, 38 US states and the District of Columbia, and four Canadian provinces are represented in the 2024 class, who range in age from 28 to 89. More than 40 Fellows (roughly 1 out of 4) do not hold a full-time affiliation with a college or university. Many Fellows’ projects directly respond to timely issues such as democracy and politics, identity, disability activism, machine learning, incarceration, climate change and community.

Created and initially funded in 1925, by US Senator Simon and Olga Guggenheim in memory of their son John Simon, the John Simon Guggenheim Memorial Foundation has sought to “further the development of scholars and artists by assisting them to engage in research in any field of knowledge and creation in any of the arts, under the freest possible conditions.” Since its establishment, the Foundation has granted over $400 million in Fellowships to more than 19,000 individuals, among whom are more than 125 Nobel laureates, members of all the national academies, winners of the Pulitzer Prize, Fields Medal, Turing Award, Bancroft Prize, National Book Award, and other internationally recognized honors. The broad range of fields of study is a unique characteristic of the Fellowship program. For more information on the 2024 Fellows, please visit the Foundation’s website at gf.org.

Adam Shatz, who will be working on a book about jazz throughout his Fellowship, is the US editor of the London Review of Books and a contributor to the New York Times Magazine, New Yorker, New York Review of Books, and The Nation, among other publications. He is the author of The Rebel’s Clinic: The Revolutionary Lives of Frantz Fanon (Farrar, Straus and Giroux, 2024) and Writers and Missionaries: Essays on the Radical Imagination (Verso, 2023). He is also host of the podcast Myself with Others, produced by the pianist Richard Sears. His political reporting and commentary have covered subjects such as Trump and the white supremacists in Charlottesville, mass incarceration, Israel’s Putinization, the deep state, and Egypt after Mubarak. Published profiles and portraits include Franz Fanon and Michel Houellebecq (London Review of Books), Nina Simone (New York Review of Books), saxophonist Kamasi Washington (New York Times Magazine); French cartoonist Riad Sattouf (New Yorker); and jazz great Charles Mingus (The Nation). Shatz previously taught at New York University and was a fellow at the New York Public Library’s Dorothy and Lewis B. Cullman Center for Writers and Scholars.

Lotus Laurie Kang MFA ’15 works with sculpture, photography and site-responsive installation, exploring the body as an ongoing process. Combining theory, poetics and biography, her work takes a regurgitative approach rather than a prescriptive or reiterative one. Kang considers the multiplicitous, constructed nature of identity and the body and its knots to larger social structures through sculpture, architectural interventions and material innovations, and an expansive approach to photography where materials are often left in unfixed and continually sensitive states. Notable group exhibitions include Hessel Museum of Art, The New Museum, SculptureCenter, Cue Art Foundation, New York; Night Gallery, Los Angeles; Catriona Jeffries, Vancouver; The Power Plant, Art Gallery of Ontario, Franz Kaka, Cooper Cole, Toronto; Remai Modern, Saskatoon; Misk Art Institute, Riyadh; Eskenazi Museum of Art, Indiana; and Camera Austria, Graz. Recent solo exhibitions of her work include Museum of Contemporary Art, Chicago; Mercer Union, Gallery TPW, Franz Kaka, Toronto; Oakville Galleries, Oakville, and Helena Anrather, Interstate Projects, New York. Artists residencies include Rupert, Vilnius; Tag Team, Bergen; The Banff Centre, Alberta; Triangle Arts Association and Interstate Projects, Brooklyn; and Horizon Art Foundation, Los Angeles.

Katherine Hubbard MFA ’10 uses photography, writing and performance to plumb photography’s continuing significance. Considering analog photography as a mimesis of the body, Hubbard asks how its procedures might be called upon to investigate social politics, history, and narrative. In her photographs, the physical positioning of one’s body has an essential relationship to how one processes images, exploring this encounter as a time based experience. Hubbard’s writing practice forms the core of her performances, culling the malleability of vision to frame a politics of looking, bridging the imaginary with the familiar. She is currently Associate Professor and MFA Director at Carnegie Mellon University School of Art.

Ahndraya Parlato ’02 is an artist based in Rochester, New York. She has published three books, including Who Is Changed and Who Is Dead, (Mack Books, 2021), A Spectacle and Nothing Strange, (Kehrer Verlag, 2016), East of the Sun, West of the Moon, (a collaboration with Gregory Halpern, Études Books, 2014). Additionally, she has contributed texts to Photo No-Nos: Meditations on What Not to Shoot (Aperture, 2021), and The Photographer's Playbook (Aperture, 2014). Parlato has exhibited work at Spazio Labo, Bologna, Italy; Silver Eye Center for Photography, Pittsburgh, Pennsylvania; The Aperture Foundation, New York, New York; and The Swiss Institute, Milan, Italy. She has been awarded residencies at Light Work and The Visual Studies Workshop and was a 2020 New York Foundation for the Arts Joy of Photography Grant recipient.

Nona Faustine: White Shoes, a series of 43 self-portraits shot throughout New York City over the course of decades, explores the city’s central but often obscured role in the history of the transatlantic slave trade, as well as examining questions about representation and perception of the Black body—and, more specifically, the Black female body—in art and other spaces. Currently on view at the Brooklyn Museum through July 7, this first solo exhibition of Nona Faustine MFA ’13 was selected as a New York Times Critic’s Pick when it opened in March and was recently reviewed on CNN. The body of work, including many striking photographs of the artist posing fully nude apart from a pair of crisp white pumps, began while Faustine was a graduate student at the International Center of Photography (ICP) program at Bard College. “All my knowledge, everything I know about photography, and everything I know about history and life is part of the work. My heart and soul is in that series,” Faustine told CNN in an email. 

How does one combat disparities in access to computer science classes for historically marginalized populations? One answer, proposed in a paper coauthored by Bard alum Megumi Kivuva ’22, could be embroidery. “We’ve come a long way as a country in offering some computer science courses in schools,” Kivuva said to the University of Washington. “But we’re learning that access doesn’t necessarily mean equity. It doesn’t mean underrepresented minority groups are always getting the opportunity to learn.” Using Turtlestitch, an open-source coding language, Kivuva and their coparticipants worked with 12 students from demographically diverse backgrounds, using a unique pedagogical approach “where the students had a say each week in what they learned and how they’d be assessed,” the University of Washington reports. “We wanted to dispel the myth that a coder is someone sitting in a corner, not being very social, typing on their computer,” Kivuva said. The subsequent paper on their findings, “Cultural-Centric Computational Embroidery,” won Best Paper at the inaugural technical symposium of Special Interest the Group on Computer Science Education (SIGCSE).

The late Bard alumnus and Manhattan cinematographer Jamie Livingston ’79 took a single Polaroid photo every day, from when he was a senior at Bard College, in 1979, until 1997, when he died of cancer at the age of 41. Livingston’s photos captured everyday moments in New York City, forming a unique visual diary of the era. After Livingston’s passing, his friends scanned and shared his Polaroids online, garnering more than 300 million views, as well as an exhibition, a book, and daily posts on Instagram. Now Livingston’s work will have yet another life in music: In Number Our Days: A Photographic Oratorio, his friend David Van Taylor honors his memory. The production runs April 12–14 at PAC NYC.

In ceremonies held in Japan in summer 2023, Tatjana Myoko von Prittwitz und Gaffron CCS ’99, artist in residence and Buddhist chaplain, achieved the rank of Zen priest, symbolically officiating at the two Soto Zen head monasteries of Eiheiji and Sojiji. These ceremonies marked the culmination of a 25-year journey for Tatjana Myoko, which began during her time as a Bard student. “I came to Bard to study at the Center for Curatorial Studies,” she said. “At that time, after the sudden death of a close friend, I encountered the Buddhist path, which transformed and shaped my entire life, both in terms of creativity as well as my academic career.” She spoke about the experience in her talk at TEDxBard College.

Studying at Zen Mountain Monastery as a lay practitioner for 20 years, she founded the Bard Meditation Group in 2001, helped to create the interfaith Center for Spiritual Life, and became the College’s first Buddhist chaplain in 2015. In 2017, Tatjana Myoko took a leave of absence from Bard in order to begin the process of acquiring the necessary qualifications to become a certified Zen priest at a three-year residency at Toshoji, the International Training Monastery of the Soto Zen school in Okayama. “Without that residency I would never be a Zen priest now,” she said. “So I think this mutual support, of Bard giving me a vessel to fill, and me ready to fill it, has been an amazing journey together, and I am very grateful.” 

This new status will allow Myoko Osho, her official title, to perform ceremonies like weddings and funerals, as well as the ability to open her own Zen temple, but the achievement has personal significance for her as well. “For me it is the formal recognition of a 25-year-long training path,” Tatjana Myoko said. “To be recognized as a lineage holder in a tradition extending from the Buddha, to my teacher in Japan, and now to me, confirms and upholds me to the highest standards of integrity. I am excited to pass on this way of liberation, especially as expressed through the Zen arts, to the next generation: my students.”