Newsmakers

California Academy of Sciences exhibit engineer and Bard alumnus Tosh Chiang '04 has designed a series of exhibits for the museum in his dream job.

Bard alumnus and parent Pierre Joris '69 has won the Modern Language Association's Aldo and Jeanne Scaglione Prize for a Translation of a Scholarly Study of Literature. Joris, professor emeritus of the University at Albany, State University of New York, receives the award for his translation of Paul Celan’s The Meridian: Final Version–Drafts–Materials.

Class of 2003 alumni and freshman dorm-mates Bjorn Quenemoen and Jamie O'Shea have combined their skills in farming and solar energy to create a unique snack.

Bard alumnus Dan Cline '08 has been volunteering with the Peace Corps in Ukraine for more than a year. He currently lives and works in the town of Haisyn, where he teaches English as a second language to primary and secondary school students at the Haisyn School-Gymnasium. Shocked to find that the classrooms had no dictionaries, Cline is raising funds to provide better learning tools for Haisyn’s students and teachers. He has also organized English language clubs at the school and has been offering extra tutoring to students. Cline acts as vice president of the Peace Corps Gender and Development Working Group in the region, and as secretary of the HIV/AIDS Working Group. He is also involved in groups for Technology for Development and the National Olympiad.

Cline also recently received a Small Project Assistance Program grant through USAID for his keystone Peace Corps service project. With this grant, Cline will organize and oversee the construction of an outdoor athletic complex on the school grounds, which will be open to the larger community. The project will also involve Cline's Young Volunteers' Club, and will make available healthy lifestyle education for students. Cline has recently garnered media attention in Ukraine for his varied and committed work on behalf of young people in Haisyn, including interviews published in The Tribune of Labor and the Haisyn Herald.

A political studies and philosophy major, Bard College alumnus Saim Saeed ’13 won a Davis Projects for Peace Award for his project, “Living Together—Navigating Common Grounds: A MENA-EU Initiative” in Istanbul, Turkey. In May 2012, during his junior year at Bard, the New York Times published his op-ed essay "Shouting in the Mirror." After graduating from Bard College, Saeed went to work as a writer for the American Interest. In this interview, he talks about the importance of his study abroad experience at Bard.

When Daniel Pacheco ’07 accepted a job through Engineers Without Borders to work in Cambodia, he had no idea that he would end up launching his own sustainable energy company there. Four years later, he's helping to bring energy independence to communities throughout the country. Working with Cambodian colleagues, Pacheco installs solar in homes, orphanages, and clinics, and makes sure these systems are sustainable for local people in the long term.

Cinematographer and Bard alumnus Jake Magee '10 is the cinematographer for Naz + Maalik, a film about two closeted Muslim teens who are followed by FBI agents.

In the Bardian

By William Stavru '87

Over the past decade, journalist Matt Taibbi ’92 has emerged as one of the shrewdest, most tenacious reporters of our nation’s financial system and politics. For someone with an international reputation as an agitator extraordinaire, he is disarmingly soft-spoken, affable, and polite. Taibbi began his writing career in Russia, his first destination after leaving Bard, then spent time in Uzbekistan and Mongolia, where he enjoyed a short stint as a professional basketball player. After 10 years abroad, Taibbi returned to the United States. Settling in New York City, he began writing for the New York Press, an alternative free weekly, now defunct. Taibbi’s merciless, wicked style got him a job at Rolling Stone; his long, in-depth pieces on Wall Street reform and other troubling financial policy decisions earned him a rock star’s level of notoriety that has been amplified by his frequent appearances on news and opinion shows such as the Rachel Maddow Show, Daily Show with Jon Stewart, Real Time with Bill Maher, and Fox News. Whether or not one agrees with Taibbi’s point of view, his work inarguably has helped reaffirm the importance and merit of political reportage.

In his books—Spanking the Donkey: Dispatches from the Dumb Season (2005); Smells Like Dead Elephants: Dispatches from a Rotting Empire (2007); The Great Derangement (2008); and Griftopia (2010)—Taibbi takes to task the elected officials, government agencies, and financial institutions at the root of our current economic crisis. (“You win the modern financial-regulation game by filing the most motions, attending the most hearings, giving the most money to the most politicians and, above all, by keeping at it, day after day, year after fiscal year, until stealing is legal again,” he wrote in a scathing Rolling Stone article, “How Wall Street Killed Financial Reform.”) His pieces synthesize picaresque narratives and a policy-wonkish intimacy with finance and banking regulations and legislation, with the effect of making his readers’ indignation almost palpable. Bardians may remember him also for his 2011 Town and Country article—“Is Bard the New Brown?”—in which he examines his own feelings and nostalgia for Bard, which means many things to many different alumni/ae. I had the chance to chat with him right before Bard Commencement and just after his article on the LIBOR (London Interbank Offered Rate) scandal appeared on his Rolling Stone blog. Here are edited excerpts from the interview.

Bill Stavru: Can you recall a single event that served as your political awakening?
Matt Taibbi: I was raised in a household in which both parents, especially my mother, were politically active, so I thought about politics from an early age. My mother was a social worker and she would tell me stories about what her clients were going through, so some of my point of view must have come from her experiences.

Did you study economics at Bard? You have an incredibly good understanding of how the machinations of this economy work.
I didn’t study economics. I never thought I’d be doing this type of reporting for a living, so I have absolutely no finance background. But I don’t look at what I do as really covering economics. When I’m assigned a story or somebody approaches me with an interesting angle on an issue, my job is to get up to speed as quickly as possible. With banking and finance, there’s no way to do a story without a lot of studying. It’s like crime reporting, but cloaked in camouflaging professional jargon.

Can you discuss the research you do for your books and articles? Because you have such a strong voice, people may underestimate how much research you do to make these stories credible.
The first thing I do, particularly with all the financial stories, is to narrow the scope of the story down to a single concept that I’m trying to understand and express. It can be something like, How does LIBOR work? How do they come up with that benchmark interest rate and how could you manipulate that? Then I call people until I’m satisfied that I understand that one thing. Obviously, a reporter has to call people on all sides of the issue before writing the background for the story. If you look closely at the stories I write, they have one single concept and then the rest is background. Who are these people? What led up to the event and what was its resolution? The main part of the research is just figuring out how a thing works, which requires finding somebody who can communicate that to you in terms an outsider will understand.

Do you think we’ve come too far to ever get back to a well-regulated, workable, and ethical financial/banking system?
That’s a difficult question. I feel strongly that we can’t regulate all these problems away. The solutions have to come from within; there’s no way to be on top of everybody all the time to make sure that they’re not stealing. You can’t have a policeman every five feet on a city block. It’s the same with the financial system. You have to rely on people to have ethics. That’s what’s gone wrong in this situation; I don’t think it’s a lack of regulation or even a lack of police presence— the lack of ethics has just been so widespread. Say you work for one of the megabanks and you’re going to sell a packet of crappy subprime bonds to a pension fund in Minnesota. You’re basically going to rob the life savings of state workers so you can drive a nicer car? We have to restore a sense of patriotism, or responsibility.

What political events and/or policy changes have given you more hope in the past few years, if any?
There are a lot of signs in Washington that the regulatory establishment has come around to the idea that the “too-big-to-fail” situation is not tenable, and that they have to break up these financial institutions. Legislation in the Senate sponsored by Sherrod Brown [D-Ohio] and David Vitter [R-Louisiana] to break up the banks got a fairly hysterical response from the banking industry, which to me indicated that it had a chance of going somewhere. When banking reform amendments were filed in the past, the banks would just ignore them, but now I think they’re worried. And some of the federal reserves—the Dallas Fed, St. Louis Fed, New York Fed—are talking about how “too-big-to-fail” is unsustainable. It would be revolutionary to go in and break up these companies.

It would be. These are not people who are unfriendly to big banking or business in general. Even some CEOs and ex-CEOs were saying, “Well, actually we are getting too big to manage.”
Yes. Sandy Weill, the former CEO of CitiGroup, which was the first of what they call the supermarket banks, said in 2012, “This doesn’t work.” The [1999] repeal of the Glass-Steagall Act [the 1933 law that separated investment from commercial banking to lower the risk of financial crashes] created CitiGroup. There’s really no intellectual argument in favor of “too-big-to-fail” anymore. It would make these banks less competitive but that doesn’t have much to do with American business. A functioning American corporation will be able to get financing from somewhere. The only thing that would be different is that a few banking executives won’t make as much money, and people are slowly coming around to that realization. I think there’s hope.

You’ve been fearless in your quest for a story. Has there been any situation in which you’ve contemplated taking a certain action and then decided that you couldn’t follow through with it?
When I lived in Russia, I knew Russian reporters who faced real risks when they researched and wrote stories; some of them were shot or attacked. I didn’t have that same problem. The physical safety aspect of my work has never seriously crossed my mind, but there are people who are irrational and will respond very aggressively to even being mentioned in a story.

We have a Republican Party that seems unable to reconcile itself on many issues, including immigration reform and gay marriage. We also have a Democratic Party that’s splintering over national security and other stands. Do you think America is ready for a multiparty system?
People are ready, but it’s not going to happen, because there are so many powerful interests who want to keep things the way they are. The two-party system is an incredibly effective mechanism for political conservatism. It has managed to continually move the needle in the direction of wealth and power for 30 or 40 years. I don’t think anybody within that system has any appetite for creating a third party; so the impetus will have to come from somewhere else. Whoever tries to do it is going to end up targeted by the entire political mechanism and discredited somehow; so I just don’t see it happening. Also, where would the money come from?

How do you decompress from all the grim news that you report on?
I follow a lot of sports and over the years I’ve gotten a lot better at keeping my home life and my professional life separate. People overestimate how depressing this job can be for me. The work is a real intellectual challenge, and there are very attractively horrible characters to write about.

In 2008, you wrote in The Great Derangement, “If there’s a villain in this book, I might offer some of the congressional representatives. . . but really the best selection might actually be me. And I have no idea what that means, but it’s probably not good.” Do you have any idea what that means now?
[Laughs.] At that time, I was covering the presidential campaign and was really conflicted about what I was doing. I had a deep sense that all of the glitzy campaign coverage was a distraction from some larger, more important issue that we weren’t looking at. And that turned out to be true: the economic crisis. I don’t have any existential angst about what I do for a living anymore, because now I’m really covering the complicated reality—these finance issues—that had been hidden from me. Back then, I was flailing around trying to make this sideshow funny, or do something with it, and so I was experiencing a lack of self-confidence.

How do you feel about the profession of journalism today? Do you think it is doing what it’s supposed to do?
The Internet has radically changed the possibilities for this profession. One of the reasons people became cynical about journalism years ago is that it had become very homogenized. Everybody wrote in the same detached, faceless, third-person voice. We had that incredible period in the 1970s with Bob Woodward, Carl Bernstein, and others. But then, except for a few publications here and there, the whole concept of advocacy journalism really disappeared. Now we’re getting back to that type of investigative reporting, largely, I think, because financial interests don’t have control over the whole journalistic landscape anymore. There are people on the Internet—which isn’t under that control—who are doing really cool things. People are doing their own investigations or document dumps, so journalists have access to information that was never available before.

At the same time, the mainstream media has a lot of the problems it has always had. It’s still locked into a fake narrative about our political system; if you travel across America you’ll find 70 percent of people are still completely obsessed with this blue/red, football-game concept of how politics work. That speaks to some kind of failure, on the part of the media, that the country hasn’t gotten past that divisiveness. I think we’re going in the right direction, but there are still problems.

Another thing is that technology and the media have worked to shorten our attention span, so it’s gotten harder to do what I do for a living and have any success. There aren’t a lot of people willing to read a 6,000-word article about a serious issue unless you make it really entertaining. It’s an uphill battle for most readers. That means fewer publications are going to pay for that story because the audiences are smaller.

Would you like to comment on recent news stories about government surveillance and freedom of the press?
People are missing the larger significance of these stories. It’s much more serious than a pattern of targeting journalists. If we get used to the government approving things like extralegal drone assassinations and torture on a mass scale, then pretty soon we stop being squeamish about things like illegal surveillance, wiretapping, the use of regulatory agencies to collect data on political enemies, etc. As much as people would like to think that their leaders are smart, the reality is that politicians are often too stupid, too lazy, and too paranoid to handle that kind of power responsibly. Giving presidents the power to assassinate without real legal review, and then expecting them to not use technical tools available to them to spy on/pressure their political enemies, is just naive. The abuse of journalists that we’re facing now is the inevitable consequence of our failure to react properly to Abu Ghraib [the Baghdad prison where human rights violations occurred], Bradley Manning [U.S. soldier arrested in 2010 for passing classified material to WikiLeaks], and so on. We created this monster and now everyone, not just journalists, has to figure out a way to tame it.

You played professional basketball in Mongolia but you don’t write or talk about it much.
I did play there when I was in my mid-20s and I was only just starting in journalism. I wrote a short piece about it for the Boston Globe Magazine. It was a crazy, wild experience. I was a celebrity in Mongolia. I was known as the Mongolian version of Dennis Rodman. I dyed my hair different colors and I got into fights in almost every game. I was actually ordered by the team owner to play to the crowd. We had a player on our team who was like the Mongolian Michael Jordan; he was a great player. We would walk around town together and people would come up to us and get our autographs. But I had a really bad experience at the end—I caught pneumonia and almost died. I had to come back to the United States and I was in recovery for months, so I just never got around to writing about playing basketball.

What are you working on now?
I’m finishing up a book that is a compare-and-contrast exercise on how justice is served differently among rich people and poor people. I have a bunch of Wall Street crime stories in it, and stories about regular criminals in the system, and how easy it is for the non–Wall Street criminals to get arrested. There’s a lot of material in there about inner-city life and jails. It’s new territory for me.

That’s timely; the whole prison system seems to be in question. We’re spending a lot of money keeping people incarcerated when maybe they shouldn’t be.
That’s the premise of the book. Violent crimes actually decreased rapidly in the last 20 years, but we’ve doubled the prison population during that time, thanks in large measure to the increased length of sentences, drug convictions, and “three strikes” mandatory incarcerations. More than half of federal prisoners are serving time for a drug offense, but only 11 percent are being incarcerated for a violent crime. There’s a correlation between the length of sentences, race, and class. There’s something going on that has nothing to do with crime. The book is an attempt to get to the intrigue, the mystery, of what’s going on with our prison population.

Is there a TV show in your future?
I could never do a TV show. My father was a television reporter and my stepmother was a CNN anchor so I grew up around TV my whole life and I know how hard it is. It requires a skill set that I don’t have. You have to be quick on your feet and also radiate a consistently positive, cheerful presence. People underestimate how hard it is. The older I get the more I realize that I should just stick to what I do.

But it looks like everyone is having a lot of fun on Real Time with Bill Maher.
That’s because shows like his are moderated by professionals. When you’re a guest on those shows you see how people like Bill Maher or Rachel Maddow earn their money. They have to get guests, who aren’t always professional performers, to stay within the confines of a 45- second hit. It has to be light enough for the advertisers, but heavy enough to be interesting. It’s a delicate line to balance, and they’re really good at it.

You visited campus in spring 2013 to be part of a public conversation on the U.S. financial system with Sandy Lewis. [Lewis is a former broker who pleaded guilty to stock manipulation in 1989 and was later pardoned by President Clinton. He has been a formidable critic of Wall Street.] The event was packed; people couldn’t get in to the auditorium. How did it feel to come back to campus as a media star and as someone who’s an expert on some of the most serious economic policy failures in our nation’s history?
I love coming back to Bard. I spoke on campus once before as an alumnus, a long time ago at a Commencement Week event. I’m proud to have gone to Bard and to see how well it’s done. [Professor of English] Ben La Farge was really good to me. I was having a hard time, and Ben wrote letters to me, even during summer vacation. He really encouraged me in my career.

Do you have any advice for undergraduates who want to be journalists?
I have a standard line I tell young people who want to get into the business: Move overseas, learn a language, and study something else. Have expertise in something, whether it’s botany, medicine, or whatever. In my case, I spoke Russian, and became thought of as an expert in Russian politics. That enabled me to get work. In my opinion, life experience is more important than going to journalism school.

Living overseas when you’re 22 or 23 is fun. There’s so much pressure in this country to succeed and have money, and to not be a failure. I think it’s good for young people in their twenties to get away from that. Go to Southeast Asia or wherever and just live for a while. The number one thing you need as a journalist is life experience so you can develop your own point of view. Once you get older and have kids or get locked into a mortgage, your ability to pick up and move is limited. When you’re 22 or 23, life is an open canvas—go do whatever you want.


Read the fall 2013 issue of the Bardian:

Journalist Matt Taibbi ’92 has emerged as one of the shrewdest, most tenacious reporters of our nation’s financial system and politics. In this interview with William Stavru '87, he discusses financial regulation, the multiparty system, and the state of journalism today.

Hazel Gurland-Pooler '99 of Ark Media is coproducing two episodes of The African Americans: Many Rivers to Cross, a PBS documentary series hosted by scholar Henry Louis Gates Jr.

In the Bardian

By Helene Tieger ’85


“The business of an undergraduate college is to graduate not only persons who know how to make a living, but also persons who know how to live.”
—Rev. Bernard Iddings Bell, Warden of St. Stephen’s College (Lyre Tree magazine, Sept. 27, 1929)

On a foggy January day in northernmost Vermont, Justin Gallanter ’34 recounted his memories of his years at St. Stephen’s College, the precursor to Bard: “At a school with 100 students and a faculty of maybe 15, there were no secrets.” His gaze was clear, his memory sharp, and his presence, as the last known living St. Stephen’s alumnus, a bridge to the past.

Gallanter wrote in his admission application that he and his parents were first interested in St. Stephen’s after reading President Bernard Iddings Bell’s Common Sense in Education. The Gallanters were impressed by the clarity of Bell’s philosophy of education and his energetic commitment to building a rigorous residential community then sustained by four campus institutions: the curriculum, chapel, athletics, and fraternities.

Bell believed that the ideal college would be one in which students were seen as “responsible persons” and that the curriculum should be adapted to the individual student, rather than forcing undergraduates to conform to a fixed program of study.

Bell came to St. Stephen’s in 1919 as the country was regrouping from the First World War. The college was struggling; it had fewer than 30 students enrolled. By 1930, when he personally reviewed and approved Gallanter’s application for admission, B.I. (as he was known) had overseen the construction of four new buildings, including Hegeman with its brand new science labs; tripled enrollment; coordinated the merger of St. Stephen’s with Columbia University; and imprinted the community with the force of his personality and his socialist (some said radical) views.

Founded in 1860, St. Stephen’s had always provided a strong classical education for young men planning to attend Episcopal seminary, but in the 20th century the college began to expand, seeking as students “men contemplating business careers; men looking forward to lives of social service; men wishing later to enter professional schools of Medicine, Law, Education, Theology, Engineering, or Journalism . . . ” (College Catalogue, 1930).

Justin Gallanter was just 16 when he arrived at St. Stephen’s, but many of his opinions were fully formed. His admission application reads: “I am poor in mathematics and physics because they do not interest me.” He was, however, a serious student, excelling in English, Latin, French, and history. He recalled that St. Stephen’s teachers were generally excellent, though, he said, “There was a Greek professor, Harry, who . . . spoke 17 languages that all sounded like English.”

Gallanter was able to recall all of his 32 classmates. Together, the Class of 1934 participated in the rituals and ceremonies of the time, including the annual Freshman/Sophomore Tug o’ War over the Sawkill Creek and the sumptuous Boar’s Head Dinner at Christmas. In winter, they would skate on the frozen river, using their academic robes as black sails. Pranks were common: one story tells of the college horse being led into a student’s Stone Row room and left there for hours.

Justin Gallanter ’34

The only openly Jewish student at the time, Gallanter said he experienced no prejudice, and he enjoyed the music and community of mandatory daily chapel attendance. The Chapel of the Holy Innocents’ bell was rung at 6:30 a.m. and 5:30 p.m. to announce morning communion and vesper services. The communion service was optional, but strict attendance was kept each evening, when robed students sat in assigned seats. Each student was allowed only 15 chapel cuts per semester, and missing a Sunday service counted for three cuts, ensuring that students remained on campus over the weekends.

Gallanter did not belong to a fraternity, but he called himself an “honorary Sig” because his roommate was a member of Sigma Alpha Epsilon. Each society had its own house on campus for meetings and gatherings. S.A.E. was a national fraternity, while Kappa Gamma Chi and Eulexian, both of which had begun as literary societies soon after St. Stephen’s was founded, were unique to the college. Unaffiliated students were “Non-Socs” (for non-society men).

Like most things at St. Stephen’s, the pros and cons of the fraternities were intensely debated. Nevertheless, until the early 1940s when they were abandoned, fraternities structured the social life of the College. Fraternity brothers ate together at special tables in the dining hall, and each house was responsible for maintaining one of the three tennis courts then installed on Oak Lawn in front of Stone Row. Annual dance weekends saw the fraternities competing to transform the gym to best effect. These weekends also included elaborate banquets to which distinguished guests were invited. During his 2010 visit to Bard (see Spring 2011 Bardian), the Rev. John Mears ’35 recalled waiting tables at one of these banquets, attended by then Governor Franklin and Eleanor Roosevelt. (They would have been doubly distinguished guests, as F.D.R. was also a trustee of St. Stephen’s College. When he was inaugurated as president, Roosevelt resigned from the board of trustees.)

Gallanter boasted no athletic prowess (athletics, no doubt, did not interest him) but B.I. was determined to build strong bodies to house strong souls. In 1921, Bell had fulfilled the dreams of generations of St. Stephen’s students by constructing the Memorial Gymnasium, named to honor alumni who had died in the First World War. The College embarked on a program of intercollegiate athletics that included football, basketball, hockey, tennis, and later, lacrosse. Competing and sometimes winning against schools like Amherst, St. Lawrence, RPI, or MIT brought tiny St. Stephen’s into the national spotlight.

Despite all this progress, spring 1933 was inauspicious. Four years into the Depression, the College was running a dangerous deficit. B.I. despaired and recommended on March 4 that St. Stephen’s “be closed as of June 30th next.” The remaining board members did not close the College, but chose instead to create a budget that slashed operating expenses and halved the deficit by halving the salaries of the entire staff. Bell could not reconcile his vision for the College to these terms and submitted his resignation. Donald Tewksbury was chosen to head the College—not as president, but as dean, on leave of absence from Columbia. Tewksbury did not hesitate to effect change. He reduced mandatory chapel attendance to three times per week, and dropped the classics requirement altogether. In his Educational Program for Bard College, he placed a heavy academic emphasis on the arts, and outlined the Moderation and Senior Project requirements familiar to Bard students today. The following spring, the Board agreed to change the name of St. Stephen’s College to Bard, in the belief that more grant dollars would be given to a modern, secular school.

Bard President Leon Botstein says Bard today continues the tradition of academic excellence. “Throughout my 38 years at Bard I’ve been conscious of the ideals of my predecessors,” he said. “Like them, we require our students to take themselves seriously in college, and expect that what they learn here shapes what they do in the world. If the College today is a center for and a model of cultural creation, debate, service, and political exchange among citizens of the future, then we are doing our job, as we have always done.”

Helene Tieger ’85 is Bard College archivist.

*Correction: the print version of this article incorrectly labels this as a photo of the soccer team.

Read the fall 2013 issue of the Bardian:

Raj Mukherji '00 is one of youngest people ever to join the New Jersey State Assembly.

On a foggy January day in northernmost Vermont, Justin Gallanter ’34 recounted his memories of his years at St. Stephen’s College, the precursor to Bard: “At a school with 100 students and a faculty of maybe 15, there were no secrets.” His gaze was clear, his memory sharp, and his presence, as the last known living St. Stephen’s alumnus, a bridge to the past.

Musician Donald Fagen has penned a literary memoir focusing on his musical influences, not stardom.

Lawyer, statesman, author, and (soon-to-be) television personality Ronan Farrow '04 has the resume of someone twice his age.

Where privatization and charity fail, investments in watershed services can solve the global water crisis, writes CEP alumna Karen Corey.

Bard College and Simon's Rock alum Ronan Farrow '04 has a new MSNBC show and a book in the works.

Lilly Bechtel '09 harnesses the healing power of yoga in her work with veterans who are coping with post-traumatic stress disorder.

Bard College Master of Arts in Teaching (Bard MAT) graduate Colleen Bucci ’08 has been named a New York State Master Teacher by Governor Andrew M. Cuomo. Bucci is one of 104 educators from four regions to be selected as the first group of New York State Master Teachers. Bucci, who graduated from the Bard MAT Program in 2008, is a biology teacher in the Hyde Park Central School District.

Larissa Phillips examines the social, environmental, and parenting implications of hunting for food.

Composer Sung Jin Hong '03 plans to stage his new mini-opera Breaking Bad—Ozymandias next year. The piece will combine elements of the hit show with Percy Bysshe Shelley's sonnet "Ozymandias."

How do you turn a graphic novel into a musical? Broadway veterans took the unconventional childhood memoir Fun Home, by Alison Bechdel A.A. '79, and adapted it for the stage.

City Year volunteers work as tutors, classroom assistants, and after-school program leaders to give struggling students a boost in U.S. cities. Jennifer Spadaccia '13 is among the 42 young adults providing academic support in New Orleans schools with City Year.

Alumni/ae Day and Family Weekend will take place on campus October 25–27. Join us for a variety of events, including What's New at Bard, the Ask the President forum, sample classes, performances by the American Symphony Orchestra, campus tours, and panel discussions. Click below to view the full program.

Bard alumnus, actor, and filmmaker Andrew Gilchrist '05 discusses his new film, Sea Pig, which recently won Best Short Film at both the Kansas City Film Festival and the Coney Island Film Festival.

Canadian and Omaskêko Cree artist and Bard alumnus Duane Linklater MFA '13 has won the nation's Sobey Art Award for contemporary artists under the age of 40.

Gabriel Blau '02 founded the God and Sexuality National Academic Conference at Bard in 1998. These days, he's advocating for LGBT families as the new executive director of the Family Equality Council.

Meher Varma '07 encourages international students to consider studying in the United States by relating some of the best things about being at Bard.

The Bard Prison Initiative is expanding. This summer the program opened two new campuses in New York State, one of which restored BPI's program for women after Bayview Correctional Facility in Manhattan was closed after Hurricane Sandy. BPI has more students enrolled in its programs and a more diverse array of classes than ever before. In June, the program hosted a conference on the liberal arts in prison with its growing consortium of national partner organizations. BPI has also hired three new site directors, all of whom are Bard alumni/ae: classicist Rana Al-Saadi Liebert '01, writer Joe Vallese '06, and sculptor Pamela J. Wallace '87.
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Artist Amy Sillman is both a graduate and faculty member of Bard's MFA program. Her first museum retrospective, one lump or two, opens Thursday at the Institute of Contemporary Art in Boston.

Bard alumnus Dan Gettinger '13, of the Center for the Study of the Drone at Bard College, considers questions of collectivism and individuality raised at the recent Maker Faire in New York City.

Recent graduate Saim Saeed '13 writes about the challenges of political self-determination and the appeal of patriarchs.

Bard alumna Lisa Kereszi's photography is an homage to the medium, guided by everyday life and objects rather than any preconceived goals by the artist.

President Obama has nominated Richard G. Frank '74 for the position of assistant secretary for planning and evaluation in the Department of Health and Human Services.

Vocal Arts Program alumnae Lucy Dhegrae M.M. '12 and Ariadne Greif M.M. '10 performed at the Resonant Bodies Festival in Brooklyn, and will sing at Bard on Sunday in "Dawn Upshaw and Friends."

Bard alumnus, writer, and director David Cote '92 will direct two plays in New York City this month: Otherland, which he wrote, and Something Something Über Alles, written by late Bard faculty member Assurbanipal Babilla.

Gia Coppola's first feature film, Palo Alto—which she adapted from James Franco's short story collection—was well received at the Telluride Film Festival.

Opus 40, the sculptural masterwork (now museum) of the late Bard alumnus and professor Harvey Fite '30, hosted the Felice County Fair last weekend, featuring Béla Fleck, the Felice Brothers, Amy Helm, and more.

Independent theater companies like Skin Horse Theater are finding fertile ground for experimentation in the city.

“The first photo books that registered with me were a few Aperture titles at the bookstore at Bard College," writes Michelle Dunn Marsh. "Stephen Shore’s Uncommon Places, Larry Fink’s Social Graces ..."

You may never look at a hamburger the same way again. “Despite the rather disgusting quality of many of these images," writes Feinstein, "there is still an allure.”

Hannah Bronfman '11 is a woman of many talents—among them DJ, restaurateur, and brand creator. In this interview, she talks about her new mobile app and gives advice to enterprising college students.

Bard Conservatory graduate Ming Aldrich-Gan '10 is the music director for Bradley Cole at the New York International Fringe Festival.

Arthur Holland Michel '13, of Bard's Center for the Study of the Drone, examines the many possible uses of drone technology, and the ethical implications of drone development.

Bard alumnus, performer, screenwriter, and playwright Nick Jones '01 talks about how the Netflix approach of making an entire series available at once enables a different kind of viewing experience.

Contemporaneous, a new music ensemble featuring Bard alumni/ae and students, was on WNYC's Soundcheck this week with musician Jherek Bischoff.

Bard alumnus Adam Goldman '08, creator of the hit Web series The Outs, is working on a new show called Whatever this is., featuring alumnae Sasha Winters '08 and Madeline Wise '12. The series focuses on the junior members of a video production crew in New York City, as they struggle to meet their personal goals while working underpaid jobs.

Scott Gendel '99 weaves an Appalachian tale through music.

Alex Kalman cofounded Red Bucket Films while studying at Bard. Later this month he plans to release a new, free app called Camra, which enables users to edit a one-minute video on the go.