Newsmakers

Visiting Artist in Residence and alumna Tschabalala Self ’12 was commissioned to create portraits of the Washington family—father Denzel and sons John David and Malcolm—who were behind the recent movie adaptation of August Wilson’s Pulitzer Prize–winning play The Piano Lesson. Denzel, John David, and Malcolm respectively produced (with his daughter Katia), starred in, and directed the film. Rochelle Steiner writes for TheWrap, “In Self’s hands, images of the Washingtons are intertwined with the film’s characters, such that the real and fictional commingle as references that exemplify Black America.” Inspired by and named after a 1984 Romare Bearden lithograph, The Piano Lesson is one of Self’s favorite August Wilson plays. “When looking at the play’s origin within the context of American slavery, the significance of home for the characters in the play and the figures depicted in Bearden’s piece becomes all the more poignant when you realize the legacy of separation, loss and displacement inflicted on their ancestors,” says Self. 

Her newly installed exhibition Tschabalala Self: Dream Girl is on view February 15–April 26, 2025 at Jeffrey Dietch in Los Angeles. 

Suzanne Kite MFA ’18, aka Kite, distinguished artist in residence, assistant professor of American and Indigenous Studies, and director of the Wihanble S’a Center for Indigenous AI at Bard, was profiled in ArtForum’s Spotlight series. The profile focuses on Kite’s performance art and use of technology, particularly the piece “Pȟehíŋ kiŋ líla akhíšoke. (Her hair was heavy.)”, referred to as one of Kite’s “braid performances.” Writer Christopher Green calls Kite one of the “foremost Indigenous artists exploring the capacity of music, video, installation, and [technology] in combination with performance to examine the embodiment and visualization of contemporary Lakȟóta ways of knowing.”

The profile also explains Kite’s goal of making art for Native, Lakȟóta audiences. “Her refusal to legibly encode or concretize her scores for the mainstream destabilizes the ethnographic gaze and its desire to document, categorize, and control Indigenous culture, language, and bodies,” Green writes. Her upcoming Wičhíŋčala Šakówiŋ (Seven Little Girls), a scored performance which will be accompanied by a full orchestra, will be presented at MIT later this year.

Award-winning writers Kelly Link and Jedediah Berry ’99 will give a reading on Monday, March 3, at 4:00 pm in Weis Cinema in the Bertelsmann Campus Center at Bard College.  The event, which is presented as part of Bradford Morrow’s Bard course on innovative contemporary fiction and is cosponsored by the literary magazine Conjunctions, will include a Q&A with the authors and is free and open to the public.

Kelly Link is known for her novel The Book of Love, and for her multitude of short stories, including the acclaimed collection Get in Trouble, which spans genres including fantasy, horror, and magic realism. Jebediah Berry ’99 is the author of The Naming Song, The Manual of Detection, and The Family Arcana, a story told in the form of cards.

“What a special joy to welcome back my former Bard student, Jedediah Berry, to speak with my students and give a public reading alongside one of my favorite writers and longtime Conjunctions contributors, Kelly Link,” said Morrow, professor of literature at Bard College and the founder and editor of Conjunctions. “As I wrap up my own years at Bard and my Innovative Contemporary Fiction Reading series, I think of how many students have gone on to successful careers in the literary world, and I hope my current students will be inspired by Jed’s triumphs as a writer. Both Kelly Link’s The Book of Love and Jedediah Berry’s The Naming Song were just named two of the five finalists for the prestigious Los Angeles Times Book Award in Sci-Fi/Fantasy for 2025. It will be wonderful to congratulate them both in person at Bard.”

Kelly Link is the author of the collections Stranger Things Happen (Small Beer Press), Magic for Beginners (Random House), Pretty Monsters (Speak), Get in Trouble, and White Cat, Black Dog, and the novel The Book of Love (all Random House). Her short stories have been published in The Magazine of Fantasy & Science Fiction, The Best American Short Stories, and Prize Stories: The O. Henry Awards. She has been a MacArthur Fellow, a recipient of a World Fantasy Award, Nebula Award, and Hugo Award, and a finalist for a Pulitzer Prize. She is the cofounder of Small Beer Press and coedits the zine Lady Churchill’s Rosebud Wristlet, and owns Book Moon, an independent bookshop in Easthampton, MA.
 
Jedediah Berry ’99 is the author of The Naming Song (Tor Books), his most recent novel which is a finalist for a Los Angeles Times Book Prize. His first novel, The Manual of Detection (Penguin Press), won the Crawford Award and the Hammett Prize and was adapted for broadcast by BBC Radio 4. His story in cards, The Family Arcana (Ninepin Press), was a finalist for a World Fantasy Award. With Andrew McAlpine, he cowrote the Ennie Award-winning tabletop adventure game setting, The Valley of Flowers (Phantom Mill Games). Together with his partner, writer Emily Houk, he runs Ninepin Press, an independent publisher of fiction, poetry, and games in unusual shapes.

Bard alums Josephine Sacabo ’67 and Dalt Wonk ’65 talk to The Reading Life host Susan Larson about their new book New Orleans 1970–2020: A Portrait of the City. Sacabo and Wonk, who are married, reminisce about their first arrival in New Orleans from France 55 years ago and life in the French Quarter during the 1970s. For their first collaboration in nearly 15 years, writer Wonk and photographer Sacabo assemble a selection of their best journalist work to create an indelible chronicle—in words and images—of the Crescent City during its past half century of quiet instances and cultural watershed moments.

Christine Sun Kim MFA ’13, artist and music/sound faculty member in Bard’s MFA program, was profiled in the New York Times, which covered her new survey show at the Whitney Museum of American Art. The exhibition, All Day All Night, encompasses her entire artistic output to date, featuring works that range from early 2010s performance documentation to her 2024 mural Ghost(ed) Notes, which has been recreated across multiple walls at the Whitney. Using musical notation, infographics, and language—both in her native American Sign Language (ASL) and written English—Kim’s work takes the form of drawings, videos, sculptures, and installations that often explore non-auditory, political dimensions of sound. Kim, who was born deaf, knows “how sound works, and what the expectations around it are,” she told the New York Times. “So why wouldn’t I use that in my work instead of rejecting it outright? Sound isn’t part of my life, but when I found sound art, it became really interesting to me as a medium.”

For Further Reading:

https://www.vulture.com/article/the-exhilarating-anger-of-christine-sun-kim.html

https://www.wsj.com/arts-culture/fine-art/christine-sun-kim-all-day-all-night-review-lines-of-communication-at-the-whitney-airdigital-77dacfeb

https://robbreport.com/shelter/art-collectibles/in-the-studio-with-christine-sun-kim-1236164748/
 

Visual artist and director Martine Syms MFA ’17 spoke with The Believer about her art practice, excerpted in McSweeney’s. She discusses her creative process, prioritizing, and how projects change as they move from an idea to their final form. “In art, I love an unknown; it’s great,” Syms says. “That’s the whole point to me: I don’t know what it’s gonna look like, I don’t know what it’s gonna be, I just have this weird idea in my head: let’s see where it takes me.”

Introducing the interview, Claire L. Evans describes Syms as “mov[ing] through mediums and ideas like a freeway moves through neighborhoods.” After graduating from the Art Institute of Chicago, Syms founded Dominica Publishing, earned her graduate degree at Bard, and was a 2023 Guggenheim Fellow. Her first movie, The African Desperate, was shot at Bard and satirizes art school. 

At the 68th annual Obie Awards, the American Theatre Wing presented Assistant Dean of Students Corey Sullivan ’03 and other members of his arts collective, Theater Mitu, the Ross Wetzsteon Award for sustained innovation in the field. Theater Mitu was originally formed through Sullivan’s collaborations as an undergraduate at Bard.

In 2001, then an undergraduate, Sullivan began collaborating with visiting artists on a production for Bard’s Theater and Performance Program. Their work together continued beyond the show’s run, and soon after, Sullivan joined the group in forming an interdisciplinary arts collective called Theater Mitu. Since then they have worked together to push the boundaries of theater through innovative productions, global research and education initiatives, programs supporting emerging artists, and the creation of their Brooklyn-based performance and technology center, MITU580.

Theater Mitu will be in residence at the Boston Museum of Science and Arts Emerson in spring 2025 to present Utopian Hotline, a project developed in partnership with the SETI Institute and Arizona State University’s Interplanetary Initiative. Part telephone hotline, part vinyl record, and part live performance, Utopian Hotline uses real voicemails left on a public hotline to create a moment of community—inviting audience members to re-imagine our shared future. Inspired by the 1977 NASA Voyager mission, which launched a vinyl-style recording of sounds found on Earth into space, as well as the uncertainty surrounding the Covid-19 pandemic, this immersive performance begs the question: “If we were to send another message into the distant future, what message would we send?”

Last summer, Theater Mitu premiered (HOLY) BLOOD! at their Brooklyn space, MITU580. Part live-scored silent film, part irreverent midnight movie, the piece created an original live soundscape merged with manipulated fragments of Alejandro Jodorowsky’s cult-classic film Santa Sangre. Projected across a shattered landscape of screens and sculpture, accompanied by explosive blood choreography enclosed in glass booths, the work remapped a story of circuses, blood cults, madness, and forgiveness. 

For more information on the company’s work, visit www.theatermitu.org

A Lien, directed by brothers David and Sam Cutler-Kruetz ’13, has been nominated for an Academy Award in the category of best live-action short. The 15-minute fictional film centers on the oppressive and harrowing experience of one New York City family’s immigration process as it follows Oscar and Sophia Gomez and their young daughter who show up for Oscar’s green card interview. The film’s festival run garnered prizes including the Special Jury Award from Salute Your Shorts 2024 and the Grand Prize Narrative Awards from the Washington Film Festival 2024. Bard alums Tara Sheffer '13 (producer), and Blair Maxwell ’13 (costume designer) also worked on the film.

Ephraim Asili MFA ’11, associate professor and director of film and electronic arts, has been selected as one of 50 artists to receive a 2025 United States Artists (USA) Fellowship. Each year, individual artists and collaboratives are anonymously nominated to apply by a geographically diverse and rotating group of artists, scholars, critics, producers, curators, and other arts professionals. USA Fellowships are annual $50,000 unrestricted awards recognizing the most compelling artists working and living in the United States, in all disciplines, at every stage of their career. 

“My approach to filmmaking is both hybrid and experimental. My films often alternate between essayistic or observational documentary form, narrative fiction, and self-reflexive gestures which foreground how the film medium itself, and the filmmaker using it, frame lived experience,” says Asili.

Ephraim Asili is an African American artist and educator whose work focuses on the African diaspora as a cultural force. Often inspired by his quotidian wanderings, Asili creates art that situates itself as a series of meditations on the everyday. He received his BA in Film and Media Arts from Temple University and his MFA in Film and Interdisciplinary Art at Bard College. Asili’s films have screened in festivals and venues all over the world, including the New York Film Festival, Toronto International Film Festival, The Berlinale, and the International Film Festival Rotterdam. Asili’s 2020 feature debut The Inheritance premiered at the 2020 Toronto International Film Festival and was recently the focus of an exhibition at the Whitney Museum of American Art where it is a part of their permanent collection. In 2021 Asili was the recipient of a Guggenheim Fellowship. During the summer of 2022 Asili directed a short film Strange Math along with the 2023 Men’s Spring/Summer fashion show for Louis Vuitton. In 2023, Asili was the recipient of a Harvard Radcliffe Fellowship, and in 2024 Asili was awarded a grant from Creative Capital. 

Sancia Miala Shiba Nash '19 and Drew K. Broderick MA ’19 of kekahi wahi also won a 2025 United States Artists fellowship. kekahi wahi was instigated in 2020 by filmmaker Sancia Miala Shiba Nash and artist Drew K. Broderick. The grassroots film initiative is committed to documenting transformations across the Hawaiian archipelago and sharing stories of the greater Pacific through time-based media. 

Nikkya Hargrove ’05, a member of the Bard College Alumni/ae Association Board of Governors and Lambda Literary Nonfiction Fellow, was interviewed by Bomb magazine about her memoir, Mama. In the book, Hargrove tells the story of her decision to adopt her newborn baby brother Jonathan after their incarcerated mother died, and how she set out, with her wife Dinushka, to create the kind of family she never had. “I think the calling to be Jonathan’s mother was nothing short of spiritual,” Hargrove said. “The drive to take Jonathan was to keep him out of a broken system and try to protect him as much as I could from my mother’s mistakes. I wanted to be his constant. I didn’t want him to worry about who would be there for him. And, knock on wood, at 18, he just figured it out. And it feels amazing, you know, to have him reflect back at us what we’ve been trying to do as his parents.”

Bard Distinguished Artist in Residence and Assistant Professor of American and Indigenous Studies Kite MFA ’18 was profiled in the multimedia hub I Care If You Listen. The piece focuses on Kite’s two-day residency at the Experimental Media and Performing Arts Center at Rensselaer (EMPAC) where she led seven students through a workshop on dreaming, then let them create and perform their own visual scores based on their dreams. ​​“It’s great to get to work with the students here,” Kite said. “Wrangling crazy ideas, organizing them into something sensible, being sensitive to your audience’s needs, and being careful with time, being self aware—those are all skills I can share.”

Kite joined Bard in 2023 and has worked in the field of machine learning since 2017. She develops wearable technology and full-body software systems to interrogate past, present, and future Lakȟóta philosophies. She is also the director of the Wihanble S’a Center for Indigenous AI at Bard. I Care If You Listen describes her work as “[uniting] scientific and artistic disciplines through custom worn electronic instruments, research, visual scores, and more… rooted in Lakota ways of making knowledge, in which body and mind are always intimately intertwined.”

Amber Esseiva (CCS Bard ’15) to Receive CCS Bard Alumni Award

Awardees to be Honored at CCS Bard’s Spring 2025 Gala

The Center for Curatorial Studies, Bard College (CCS Bard) announces Gridthiya Gaweewong as the recipient of its 2025 Audrey Irmas Award for Curatorial Excellence.

Currently the artistic director of the Jim Thompson Art Center in Bangkok, Gaweewong has dedicated her career to championing contemporary Thai artists and developing a curatorial practice addressing the social transformation faced by artists from Thailand and beyond following the Cold War. An independent panel of leading curators, artists, and museum directors selected Gaweewong to receive the annual award, which is accompanied by a $25,000 prize and was launched in 1998 to honor the outstanding achievements of curators who bring innovative thinking, bold vision, and dedicated service to the field of exhibition-making.

“Gridthiya’s curatorial approach, which subverts institutional narratives in lieu of artist-led and personal perspectives, embodies the innovative contributions to the curatorial field CCS Bard aims to recognize with this award,” said Tom Eccles, Executive Director of the Center for Curatorial Studies, Bard College.

In addition to Gaweewong, CCS Bard recognizes curator and educator Amber Esseiva (Class of ’15) with the 2025 CCS Bard Alumni Award. As Acting Senior Curator at the Institute for Contemporary Art at Virginia Commonwealth University (ICA at VCU) and former Curator-at-Large at The Studio Museum in Harlem, Esseiva develops exhibitions that center emerging, mid-career, and underrecognized artists. Established in 2023, CCS Bard awards this $10,000 prize to honor outstanding graduates who demonstrate sustained innovation and engagement with exhibition-making, public education, and research in the field of curation.

Gaweewong and Esseiva will accept their awards at CCS Bard’s Spring 2025 gala celebration and dinner on April 7, 2025. The event, which is chaired by the CCS Bard Board of Governors, will be held in New York City at The Lighthouse at Pier 61.

“I’m deeply honored to receive this award and thank the esteemed committee. This milestone manifests the collaborative efforts of my family, friends, artists, mentors, and vibrant art community in Thailand, the region, and beyond,” said Gaweewong. “It inspires me to curate passionately, trusting art’s power to foster resilience and meaningful societal change."

“It brings me so much joy to receive this recognition from CCS Bard, an institution that has had such a profound impact on my work and career. It was at CCS that I first developed my passion for collaborating with artists and colleagues to produce new works of art,” said Esseiva. “To be acknowledged by so many talented alumni I admire, is both humbling and truly meaningful to me.”

The Center for Curatorial Studies, Bard College (CCS Bard) announces Gridthiya Gaweewong as the recipient of its 2025 Audrey Irmas Award for Curatorial Excellence.

Bard alumnus, restaurateur, and sommelier Chase Sinzer ’11 has been awarded the Michelin Guide New York 2024 Sommelier Award, alongside Ellis Srubas-Giammanco, who is the wine director of Sinzer's raw bar restaurant Penny, which he opened earlier this year in New York City. After serving as wine director of the two-Michelin star restaurant The Chef's Table at Brooklyn Fare, Sinzer opened Claud and Penny, overseeing both wine programs. In conversation with Michelin Guide, Sinzer discussed sustainability in their wine menus, wines worth splurging on, and the advice he has for aspiring sommeliers. “Seek out as much wine as humanly possible to develop your own style,” says Sinzer. “So when someone asks a question, you've accumulated an encyclopedic notion of the aesthetics and business of wine that you have a quick, formulated idea of what your wine list represents to you and what you want people to get from it.”

On Monday, December 2, Bard College Margaret and John Bard Society members, staff, and students gathered in New York City for this year’s annual luncheon. This special occasion is dedicated to honoring and celebrating our esteemed donors who have made generous contributions through their estate plans. Their commitment to Bard College’s mission through future planning is not only inspiring but instrumental in defining the experiences and opportunities Bard can offer its students. Bard is deeply appreciative of the generosity and foresight that the members of the Margaret and John Bard Society have.

“This special annual gathering celebrates the generous alumni/ae, family, and friends who have chosen to support Bard through planned giving. Their commitment and philanthropy play a vital role in shaping the future of Bard College, ensuring that Bard can continue to provide a transformative education for generations to come. It’s a time to connect, share stories, and inspire each other with the legacy of support helping fulfill Bard's mission,” said Vice President for Development and Alumni/ae Affairs Debra Pemstein.

Artist and Bard alumnus Eddie Rodolfo Aparicio ’12 has been recognized by ARTnews as a 2024 Emerging Artist of the Year. For his first solo museum presentation, which took place earlier this year, Aparicio was selected by the Museum of Contemporary Art in Los Angeles to take over part of its sprawling Geffen Contemporary location for the relaunch of its “MOCA Focus” exhibition series, which featured works he made between 2016 and 2023 alongside three site-specific commissions. “In Aparicio’s work there is a commitment to experimentation and to pushing materials to their limits, only to show us new ways of seeing and thinking,” ARTnews wrote of the exhibition. “This is the beginning of an incredibly promising career.” His work explores the visual and conceptual po­­ssibilities of globally ubiquitous raw materials and products of Indigenous knowledge of Latin America. In recent years, Aparicio has produced large scale rubber casts that document the social and economic relationships between Latin America and the United States through specific use of material, multiplicity of site and metaphorical gestures.

Suzanne Kite MFA ’18, aka Kite, distinguished artist in residence, assistant professor of American and Indigenous Studies, and director of the Wihanble S’a Center for Indigenous AI at Bard, was interviewed by News10 NBC for an article about how Indigenous engineers and artists are using artificial intelligence for cultural preservation projects. Of the 4,000 Indigenous languages worldwide, it is estimated that one dies every two weeks with its last speaker, according to data from the United Nations Permanent Forum on Indigenous Issues. AI can be a valuable tool in the initiatives designed to preserve those languages and other aspects of Indigenous culture and creative practices, such as the art which Kite is using machine learning to create. “My question is simple: How do we create ethical art with AI by applying Indigenous ontologies?” Kite said. “I try to resist Western personification of AI and instead dig into the hyperlocal, grounded and practical frameworks of knowledge that American Indigenous communities provide.”

Bard alum Rob Brunner ’93, politics and culture editor at the Washingtonian magazine, writes about how Tom Stoppard’s Tony Award–winning play Leopoldstadt—which follows the story of the Merz family, a wealthy, deeply assimilated family of Viennese Jews, from the cultural heyday of Vienna’s pre-war period, through two world wars, and their terrifying aftermath—made him finally confront his own family's tragic history. Brunner’s grandparents, also Viennese Jews, fled their beloved city in 1938, shortly after the Nazis annexed Austria, evaded the Gestapo through a chance meeting, secretly crossed the French border into Paris, and miraculously received two American refugee visas on August 31, 1939, one day before Hitler invaded Poland and started World War II. The rest of his grandparents’ Viennese family, like most of the Merz family in Stoppard’s play, did not survive. “None of it felt like it belonged to me. That was a delusion that I held onto for too long . . . ” writes Brunner of his family’s Holocaust story. “But had the cousins survived, they would have been my family, my son’s family. They would have come over for Thanksgiving dinner; I might have been friends with their children. Their loss isn’t some abstraction, I have finally come to realize. It’s my loss, too.”

Pulitzer-winning investigative journalist and Bard alumnus Ronan Farrow ’04 spoke to NPR and the Guardian about his new HBO documentary, Surveilled, in which he delves into the shadowy world of surveillance and the private companies that sell powerful commercial spyware technology. The documentary “records the emotional toll, scope and threat potential of a technology most people are neither aware of nor understand,” writes Adrian Horton for the Guardian. “It also serves as an argument for urgent journalistic and civic oversight of commercial spyware—its deliberately obscure manufacturers, its abuse by state clients and its silent erosion of privacy.” Farrow addresses how the lack of regulations surrounding this technology has wide reaching implications for political and social abuse. “In the film, I am motivated by having come face-to-face with surveillance and understanding how intrusive that is, how devastating it can be personally and invasive,” Farrow told NPR. “But also, more consequentially, how much it shrinks the space for the free flow of information and the expression of dissent.”

In an article for National Geographic, science writer and Bard alumna Elizabeth Royte ’81 explores the life cycles and habitats of rattlesnakes, and the various conservation efforts to protect them. More than 50 species of rattlesnakes occur exclusively throughout the Americas, and Royte notes that though there may be pockets where they thrive, the fate of most of the venomous snakes is grim. “From southwestern Canada to central Argentina, people continue to capture them for the pet or skin trade, swerve to flatten them as they warm themselves on roads, and chop up their habitat with subdivisions, pipelines, and cell towers,” she writes for National Geographic. “Timber rattlesnakes, once abundant, have been extirpated in a number of northern US states and Ontario, and they’re threatened or endangered in pockets throughout their broad US range. Several other species are categorized from generally threatened to critically endangered.”

Artist and Bard alumna Martine Syms MFA ’17 was interviewed in PIN-UP magazine. In conversation with Jordan Richman, Syms discusses how her upbringing in Los Angeles impacted her interest in film, how media shapes culture and identity, her experiences with museums and art institutions, and the origin of fictional versions of herself in the forms of an AI model and the character in her semi-autobiographical sitcom She Mad. “At this point, the real and fictional Martines are very different,” Syms told Richman. “But in 2015, I was pulling from my own life experience because I was exploring representation. I was envisioning a fictionalized version of my own life in the traditional sitcom format, which was somewhat outdated in 2015, but which I felt was being reinscribed on Instagram.” Syms describes how the real and fictional Martines diverged several years later with her project Intro to Threat Modeling, “Which I made in 2017, when I started working with AI and AR. I had just finished this complicated AR app when ARKit dropped. It became much easier. I already had a 3D model of myself that I kept improving. I was learning ARKit and Blender with it. Teenie, which is what I call the model, became its own thing.” 

Bard alumnus Titus Ogilvie-Laing ’13, a beekeeper who maintains hives on New York City rooftops, was featured in the New York Times. “At the Empire State Building, on a roof of Madison Square Garden and on a terrace adjacent to the Chrysler Building, thousands of veritable worker bees have been turning nectar into honey,” writes Patrick McGeehan for the New York Times. On a recent warm day as he tended to hives belonging to the Danish Consulate, Ogilvie-Laing “blew smoke from silver canisters to calm the bees before opening the hives. Using metal tools shaped like small crowbars, they pried frames out of the wooden hive boxes. Each frame was covered with hundreds of bees and filled with combs brimming with raw honey.” Ogilvie-Laing, who also works part time in the photo and video department of the Solomon R. Guggenheim Museum, beekeeps for the Queens-based company Best Bees, which manages hives in a variety of locations around the metropolitan area, including in Long Island City, the MetLife Stadium in New Jersey, and Madison Square Garden. 

Daniel Terna ’09 ICP ’15 was profiled in Artsy Artist’s “Artists On Our Radar,” an editorial series featuring five artists who made an impact in the past month through exhibitions, gallery openings, and other events. Terna’s latest exhibit The Terrain is on view at the Jack Barrett Gallery in Tribeca until December 14. The Terrain features Terna’s photographs of political events from 2017 to the present, including the Women’s March and the Global Climate Strike, along with day-to-day photographs from his own life. The Terrain was also reviewed by the New York Times, which writes that Terna's photography contains “narrative restraint... [it] keeps admitting how hard it is to really know another human being.”

Terna has exhibited at the BRIC Arts Media Biennial, MoMA PS1’s film program, and the Carpenter Center for the Visual Arts, among others, and will exhibit at the Smithsonian Museum’s National Portrait Gallery in May 2025. His photography is focused on intergenerational relationships, combining personal narratives with his outside perspective on current events. Of Terna’s 2023 photo Monastery, taken near the Dachau concentration camp where his father was imprisoned, Artsy writes, “The peaceful scene is transformed by its context, invoking the weight of memory and survival.”

On Monday, November 11, 2024, Bard College will host a Veterans Day event to rededicate the Old Gym at Bard as Memorial Hall in honor and remembrance of alumni/ae, faculty, and staff who have served the country in armed services. Dedication and remarks by Malia Du Mont ’95, vice president for strategy and policy and chief of staff at Bard, will take place at 11 am at 39 Henderson Circle Drive on Bard’s Annandale campus, followed by a reception at 11:30 am in Schwab ’52 Atrium in the Franklin W. Olin Humanities Building. The event will close with a talk given at 3 pm in Barringer House by Dev Crasta ’09, a clinical psychologist who works with veterans in the mental health field. The event is free and open to the public. Please register here.

The event is the culmination of efforts to honor Veterans Day which began last year, when Du Mont asked Bard archivist Helene Tieger ’85 to unearth the College’s veterans-related material. They discovered a 100-year-old handmade service flag, with dozens of stars representing students and alumni/ae of Bard who served during World War I, and learned that the building at the center of Bard’s campus, known as the Old Gym, was built in honor of those Bardians. A new sign at Memorial Hall will be unveiled at the event on Monday to share this history with the Bard community.

“I am looking forward to unveiling the new sign, reacquainting the Bard community with this important history, and helping our colleagues and students understand the role that Bard has played in enabling military service to our nation, in support of democracy and in defense of the US Constitution, throughout the institution's history,” said Du Mont, who is also leading plans to turn a room in the building into a permanent exhibition space where items about the military service of current and past members of the Bard community will have a permanent display in the center of the college’s campus.

Bard’s Center for Indigenous Studies (CfIS) hosted a convening in Venice to consider how Indigenous aesthetics, futurity, and arts intersect with global practices and modernism. The name of the convening, “if I read you/what I wrote bear/in mind I wrote it,” from a poem by Layli Long Soldier MFA ’14 (Oglala Lakota), gathered Native and non-Native poets, academics, artists, musicians, curators, teachers, and students to address the interdisciplinary, transnational nature of Bard Artist in Residence Jeffrey Gibson's (Mississippi Choctaw/Cherokee) work in the US Pavilion at the 60th Venice Biennale Arte.

“The convening as a whole felt like an energizing disco, a kaleidoscopic exploration of Native identities in all their rich dualities, contrasts, and dichotomies: familiar and unfamiliar, past and future, joy and sorrow, detailed and monumental,” wrote Sháńdíín Brown (Navajo) for Hyperallergic.
  
The three-day event hosted luminaries of Native American and Indigenous studies and cutting-edge performers. Panels on beads, materiality, economies of labor and trade, aesthetics, poetry, performance, silhouette, and color also celebrated contemporary Indigenous artists, writers, and activists while examining the continued segregation of Indigenous voices in conversations regarding taste making, trade, modernity, and power. Several Bard College faculty and staff participated including Christian Ayne Crouch, dean of graduate studies, associate professor of history and American and Indigenous studies, and CfIS director; Brandi Norton (Iñupiaq), CfIS curator of public programs; Melina Roise, CfIS program coordinator; and Dinaw Mengetsu, John D. and Catherine T. MacArthur Professor of the Humanities and director of the Written Arts Program.

Further reading:
The Art of Jeffrey Gibson Shines in Venice (ICT)

Rock band Hello Mary, including bassist Mikaela Oppenheimer ’25, were profiled in a backstage photo essay in Rolling Stone. Alongside images of their October 24 concert at Bowery Ballroom in New York City, Rolling Stone spoke to the band about the significance of headlining a show at the Bowery and their journey through pre-concert nerves. Oppenheimer, shown in the photoset playing bass and also doing homework backstage, says the adrenaline from shows makes her “energized for 10 minutes—then I’m ready to sleep [for] a long time.”

Hello Mary was formed in 2019 and released its first EP, Ginger, in 2020. Their latest album, Emita Ox, was released this year on September 14. Rolling Stone calls the album “excellently moody,” and fellow band member Stella Wave agreed, “there’s definitely a different mood on this album … it’s darker and more subtle.” The band ended this touring season on November 3, and now are taking time to put together their next project.
 

On Monday, November 4, at 5 pm, Bard College will host a screening and discussion for the public premiere of the Open Society University Network’s (OSUN) documentary film, A Poll to Call Our Own: The Bard Voting Story. The screening will be followed by a discussion with key actors, including Bard alumni/ae Sarah deVeer ’17, Jonian Rafti ’15, Seamus Heady ’22 (producer/director), lawyer Yael Bromberg, Bard Vice President for Civic Engagement Erin Cannan, and Bard Vice President for Academic Affairs Jonathan Becker. The event will take place at the Weis Cinema in the Bertelsmann Campus Center. It will also be broadcast as a webinar. Register in advance for this webinar here.

The short film A Poll to Call Our Own: The Bard Voting Story chronicles the quarter-century fight at Bard over student voting rights, a period during which Bard students and administrators, with the support of groups like the Andrew Goodman Foundation and the New York Civil Liberties Union, won four lawsuits—three state and one federal—to protect students’ right to vote locally and to secure a polling place on the Bard campus. Bard’s experience helped inspire New York State to pass a law in 2022 mandating polling places at or near college campuses that have 300 or more registered on-campus voters.

The film was produced as an open educational resource for the course, Student Voting: Power, Politics and Race in the Fight for American Democracy. The course, which is supported by the Andrew W. Mellon Foundation and OSUN, is collaboratively taught by faculty from Bard, North Carolina Agricultural and Technical State University (North Carolina A&T), Prairie View A&M University, and Tuskegee University. Students meet virtually weekly to discuss issues in the course, including case studies which explore histories of student voting at each institution. By the end of the project, there will be a film and written case study for each campus, chronicling their fight for student voting rights.

A Poll to Call Our Own: The Bard Voting Story contains interviews with key players in the fight for a polling place, including current and former students, key administrators, and legal counsel, as well as archival footage of students being harassed at a local poll site and speaking before the Red Hook Town Board about the need for a polling place on campus. It is accompanied by a written case study.

Director and producer Seamus Heady ’22 said: “Our film reveals the powers which have worked, often quietly, to stand between youth voters and the polls. Nobody goes out of their way to silence meaningless voices. It is my hope that youth everywhere, who may feel dubious about the power of their votes, take this film as an affirmation of the significant role they play in our democracy. Bard as an institution has committed significant resources to bring attention to local municipal injustice, which could otherwise go unnoticed. I believe all universities owe it to their students to do the same.”

Bard College President Leon Botstein, who was a litigant in two of the cases, said: “This film illustrates Bard’s belief in the inextricable link between education and democracy. I am proud to have served as a litigant with Bard students and administrators in our successful campaign to secure a polling place on campus and to advocate for a law mandating polling places on college campuses in New York State with 300 or more registered voters. As trust in institutions and faith in democracy wanes in the United States, particularly amongst American youth, it is more important now than ever to fight for justice and change through securing for all citizens the right to vote.”

Bard’s Vice President for Academic Affairs, Director of Bard’s Center for Civic Engagement, and Professor of Political Studies Jonathan Becker said: “The film covers many of the critical milestones of Bard’s long fight over student voting rights. It effectively captures how successive generations of Bard students mobilized with the support of the Bard administration and partnered with organizations like the Andrew Goodman Foundation and the New York Civil Liberties Union to fight for their democratic rights. It is a testament to the capacity of higher education institutions to serve as civic actors in an America whose democracy is increasingly under threat.”

Bard student Sierra Ford ’26, who is the head of Election@Bard and an Andrew Goodman Ambassador, said: “It is incredible to be a part of a legacy of rich voter advocacy at Bard. What a privilege it has been to join my peers, administration, and mentors in realizing an electorally engaged community.”

Bard Vice President for Civic Engagement Erin Cannan said: “The Bard student voting story is a reminder to all of us that fair elections require vigilance and engagement of young people. And that the fear of ‘over enfranchising’ students cannot be a reason for election officials to act illegally. This work is never finished.”

Assistant Producer at OSUN Maria Pankova said: “Working on this case study was an opportunity for me to learn more about Bard College’s history and the culture of civic engagement on campus. As a Bard graduate, I felt closer to my alma mater, knowing the full extent of voting activism taking place there and administration advocacy for students’ rights.”

In conversation for Bomb magazine, Bard alumnae and visual artists Adriana Farmiga MFA ’04 and Fawn Krieger MFA ’05, who lectured together at the Metropolitan Museum of Art for nearly a decade and now both teach at the Cooper Union School of Art, discussed Farmiga’s new body of work. The AVATAR series features scaled up wooden plywood sculptures described by Farmiga as masks or protest posters, currently on view at Marisa Newman Projects gallery in New York. “A mask allows an individual to lose or transcend their identity, while protest posters serve to signal one’s belief systems or demands,” Farmiga told Krieger. “Both function as barriers between the individual and the world; both peddle in anonymity and identification. In my hybridized version, the scaled-up form of the protest poster on a stick also assumes the role of a mask or shape of a sentient being.”

Valve Turners, a documentary feature film directed and produced by Steve Bonds-Liptay MS ’10, premiered and won the Climate Action Award in this year’s Climate Film Fest. Valve Turners follows a small group of activists from the Pacific Northwest as they turn the valves and halt the flow of five oil pipelines entering the United States from Canada to spotlight the climate emergency. Facing felony charges, they defend their actions as necessary in light of decades of political inaction and urgent warnings from climate scientists. The film festival called Bonds-Liptay’s feature “riveting and incisive.” Bonds-Liptay graduated from Bard’s Graduate Programs in Sustainability with a masters degree in environmental policy. 

The 2024 Dance Magazine Awards honor Bard alumna Joanna Haigood ’79, alongside George Faison, Liz Lerman, Mavis Staines, Shen Wei, and Mikhail Baryshnikov, whose work with Baryshnikov Arts earned him the Chairman’s Award. From its first year in 1954, the Dance Magazine Awards have been given annually in appreciation of the artistry, integrity, and resilience that dance artists have demonstrated over the course of their careers. The theme for this year’s awards is “the stage and beyond”—the dancers, choreographers, and educators recognized are invested in work that often transcends the proscenium.

“Since 1980 Joanna Haigood has been creating work that uses natural, architectural, and cultural environments as points of departure for movement exploration and narrative,” says the Dance Magazine Awards statement. “Her stages have included grain terminals, a clock tower, the pope’s palace, military forts, and a mile of neighborhood streets in the South Bronx. Her work has been commissioned by many arts institutions, including Dancing in the Streets, Jacob’s Pillow, the Walker Art Center, the National Black Arts Festival, and Festival d’Avignon. Haigood has had the privilege to mentor many extraordinary young artists at the École Nationale des Arts du Cirque, the Trinity Laban Conservatoire, Spelman College, Stanford University, the San Francisco Circus Center, and Zaccho Studio.”

Brandon Blackwood ’13, Bard alumnus and designer, has been named in TIME magazine’s TIME100 Next list for 2024, which highlights influential figures who are shaping the future of business, entertainment, sports, politics, science, health, and other fields. “As one of few preeminent Black designers, Blackwood represents changemakers who lead by example with fearlessness, innovation, and a steadfast embrace of inclusivity,” writes Elaine Welteroth for TIME. “His influence extends beyond the runway, inspiring a new generation of designers to merge style with substance. The B on his bags not only honors their namesake—it also reflects his brilliance across every design, collection, and work of art he offers to this world.”

Bard alumni/ae Rosa Polin ’16 and Ryan Rusiecki ’20, graduates of the photography program, have been featured in Cultured magazine’s Young Photographers 2024, a list highlighting the next generation of image makers who have dedicated themselves to photography as an art form. “I try to use photography the same way I try to live the rest of my life,” said Polin ’16, who blends realism and the uncanny in intimate imagery. “I am trying to find my voice. It’s all a big mixture of shame, curiosity, fear, playfulness, boredom, irony, sadness, lust, humor, and empathy.” For his environmental photography, Rusiecki ’20 has revisited the same subject each year, watching its transformation under imminent threat. “The subject of my practice — the Hudson River estuary — is a globally rare habitat that is under threat by rising sea levels and climate change,” he said. “I have only been able to photograph the estuary after having spent four years of repeated return, and multidisciplinary research, to understand its nuances and visual fragility. I consider the estuary a friend.”

A new photo book by Bard alumna Virginia Hanusik ’14, Into the Quiet and the Light: Water, Life, and Land Loss in South Louisiana, which documents a decade spent in the coastal region of the state, has been reviewed in Aperture. “Photographs appear alongside an anthology of essays and poetry commissioned for the book,” writes Michael Adno for Aperture. “For Hanusik, architecture is also a clear sign of time passing; buildings, like hands on the face of a clock, float along a canal one year and disappear the next, while others are raised twenty feet up in the air to escape the coming flood.” Hanusik’s photographs and written contributions explore the cultural legacy of weather and storms in coastal areas, the physical and psychological marks left behind by hurricanes, and the privileges afforded to certain communities over others in responses to flood damage. “At the core of the project,” Hanusik writes, “is an effort to encourage thinking of this region—and coastal communities around the country—as an interconnected system rather than as separate and expendable landscapes.”

Mezzo-soprano Sun-Ly Pierce VAP ’19, alumna of the Bard Conservatory Vocal Arts Program, has won third prize in Operalia 2024, the world opera competition founded by Plácido Domingo in 1993 to discover and help launch the careers of the most promising young opera singers of today. Operalia’s goal is to attract singers between the ages of 20 and 32, of all voice types from and all over the world, to have them audition and be heard by a panel of distinguished international personalities, in the most prestigious and competitive showcase in the world. 

The international jury, presided by Plácido Domingo, listens to each of the chosen participants during two days of quarterfinals. Twenty participants are then selected to continue on to the semifinals, and ten singers are chosen for the finals. The quarterfinals and semifinals are carried out in audition form, but the final round is presented in the form of a gala concert accompanied by a full orchestra. This year, Operalia was held at The National Centre for the Performing Arts in Mumbai, India, September 15–21.

Artist Brandon Ndife MFA ’20, whose first solo exhibition, Clearance, is on view at Greene Naftali gallery in Chelsea, was profiled in the New York Times. “His art reminds its viewers that nature—even in the face of civilization—has an ultimately ungovernable power,” writes Zoë Hopkins. Ndife’s otherworldly creations fuse forms that resemble domestic objects, such as furniture, with elements derived from the natural world to evoke the sense of wild growth overtaking built environments. “They’re interchangeable to me, the native and the natural,” Ndife said. “There’s a mutiny that can happen in the work. I describe the sculptures as struggling to be, struggling to take hold in their environment. And I think that’s our story as Black people.”

SF Gate profiled Bard alumna Joanna Letz ’06, who is the owner and manager of Bluma Flower Farm in Berkeley, California. She manages the rooftop farm day-to-day and also organizes events and online sales. While the rooftop is idyllic, Letz says running it is hard work: “People romanticize farming —‘it must be so beautiful’ — but it takes so much effort to grow something and to grow it well.”

Letz started her rooftop farm in 2019 after more than a decade of working on other farms and running her own business. Despite initial challenges—farming plants on a rooftop means more wind, for example—Bluma has thrived. As an urban farm, not only does it have a lower carbon footprint than internationally-importing competitors, it also supports biodiversity for pollinators in the area. In the future, Letz hopes to host more educational programming at the farm to teach children about growing plants and share her love of flowers more widely.

Celebrated artist R.H. Quaytman ’83 was invited to create new works for Frieze magazine's September issue to accompany an essay about Gertrude Stein’s poem, “If I Told Him: A Portrait of Picasso.” She responded with a series of images using abstract and photographic elements, which she discusses with Marko Gluhaich, associate editor of Frieze. “Naturally I was more interested in Stein than Picasso. How incredibly photogenic she was,” she told Gluhaich. “While playing around with transparencies I accidentally made Picasso’s portrait of her look like a self-portrait. Suddenly his face was her face.”

Quaytman was the 2022 recipient of Bard’s Kellogg Award in Arts and Letters.

The Association for Women in Mathematics (AWM) has announced that Bard math alumna Mona Merling ’09 has won the 2025 AWM Joan and Joseph Birman Research Prize in Topology and Geometry. Merling was recognized for her innovative and impactful research in algebraic K-theory, equivariant homotopy theory, and their applications to manifold theory.

“I would not be here today without the many amazing women I was lucky to have as role models at every step of the way: from my math teacher back in Romania, Mihaela Flamaropol, who ignited my passion for math competitions; to my undergraduate mentor at Bard College, Lauren Rose, who early on inspired me about both research and teaching; to some of the senior leaders in my field who initiated and fostered the Women in Topology Network, Maria Basterra, Kristine Bauer, Kathryn Hess, and Brenda Johnson, who I was very privileged to be able to collaborate with as part of these workshops and who have always served as a huge inspiration and a source of endless support to me and other younger women in homotopy theory,” said Merling, who is currently associate professor of mathematics at the University of Pennsylvania. She was previously a J.J. Sylvester Assistant Professor in the Department of Mathematics at Johns Hopkins University, and received her PhD in Mathematics at the University of Chicago in 2014.

In a statement, AWM wrote: “Merling is an exceptional researcher whose work in algebraic topology has both depth and breadth. She is a recognized authority on equivariant homotopy theory and its applications to equivariant manifolds. Her recent work generalizes and reinterprets results in differential topology in the equivariant context. Her work is the first progress seen in decades on certain foundational questions about equivariant manifolds.”

The AWM Joan & Joseph Birman Research Prize in Topology and Geometry serves to highlight to the community outstanding contributions by women in the field and to advance the careers of the prize recipients. The prize is awarded every other year and was made possible by a generous contribution from Joan Birman, whose work has been in low dimensional topology, and her husband, Joseph, who was a theoretical physicist specializing in applications of group theory to solid state physics.

The novella The Plotinus by Bard alumna Rikki Ducornet ’64 was reviewed by Marina Warner in the New York Review of Books. Ducornet’s fifteenth work of fiction, The Plotinus is about a futuristic narrator who is arrested for going on a walk, and it incorporates a style Warner calls “[something] between astringent honesty, madcap fantasy, parodic sci-fi, surreal absurdism, metaphysical absorption, and rapturous lyric.”

Ducornet earned her BA from Bard in fine arts before publishing her first book The Stain in 1984. Throughout her career, she’s followed the trajectory of Surrealist authors and the Latin American literary tradition of the “marvelous real.” In addition to her writing, she has illustrated books by authors including Jorge Luis Borges and Anne Waldman. Warner writes that The Plotinus forms “an arc of feeling [tracing] the transformation of the narrator from despairing to loving,” comparing the novella to sci-fi works by authors like Ursula K. LeGuin, Doris Lessing, and China Miéville. Her many honors include The Bard College Arts and Letters Award (1998), The Lannan Literary Award for Fiction (2004), and The Literature Award from the American Academy of Arts and Letters (2008), among others.

Orange Blossom Trail, a new book of photography by Bard alumnus Joshua Lutz ’97 MFA ’05, documents the lives of workers along a 400-mile stretch of highway from Georgia to Miami. Three texts by author George Saunders accompany Lutz’s photographs, which display an “austere frankness,” writes Walker Mimms in a review for the New York Times. “Though not without dignity—see Lutz’s portraits of fruit inspectors, as they glance up from a conveyor belt of tumbling oranges—his photos lack any social agenda,” Mimms continues, an effect that is emphasized by inclusion of the Saunders texts. Mimms walks away surprised not only by the collaboration itself, but its commitment to portraying “the demoralizing American grind with an attitude between sympathy and resignation. An attitude that’s rare in art because we seldom admit it to ourselves.”

Bard alum Raphael Bob-Waksberg ’06 speaks with the A.V. Club about the lessons learned from his hit Netflix comedy BoJack Horseman and its ever-growing legacy. Ten years since its debut, Bob-Waksberg’s BoJack Horseman, a showbiz satire of life in Hollywood, is finding new fans who resonate with its parody while also continuing to capture the attention of its older fans who first watched the series during its run from 2014 to 2020. “It has been really surprising and rewarding for me to see people are still finding it and still falling in love with it in spite of some parts of it feeling a little dated or irrelevant. And not just as a nostalgic artifact, it holds up as a new thing if you start watching it now,” said Bob-Waksberg.

Bard alum Clark Wolff Hamel ’17, the educational director of the LGBTQ+ advocacy group PFLAG NYC, was interviewed on the podcast Leading Queer, hosted by John B. Weinsten, provost of Bard College at Simon’s Rock, and Carla Stephens, director of the Bard Queer Leadership Project at Simon’s Rock. The hosts spoke to Wolff Hamel about his work with PFLAG providing guidance for K–12 educators and administrators on following New York State’s LGBTQ+ policies.

The New York City chapter of PFLAG serves over 1.2 million students, meaning that Wolff Hamel has to balance working across more than 1700 schools. While his work centers on helping overhaul curriculums and school programs to make them more inclusive, Wolff Hamel encourages educators to add inclusive practices to what they already have in place. “It can be small, simple things that actually make a really big difference and ensure that queer young people are seeing themselves in the curriculum.”

Bard College is pleased to announce that the Wihanble S’a Center for Indigenous AI, directed by Dr. Suzanne Kite, distinguished artist in residence and assistant professor of American and Indigenous Studies, has been designated as a Humanities Research Center on AI by the National Endowment for the Humanities (NEH). This prestigious recognition will confer a $500,000 grant in support of the Center, and position Wihanble S’a at the forefront of innovative research that integrates Indigenous Knowledge systems with cutting-edge artificial intelligence (AI) technologies.

Beginning in Fall 2024, the Wihanble S’a Center will embark on groundbreaking research aimed at developing ethical AI frameworks deeply rooted in Indigenous methodologies. The Center’s mission is to explore and address the ethical, legal, and societal implications of AI through an Indigenous lens, ensuring that AI technologies reflect diverse perspectives and contribute positively to society.

“This award is a tremendous honor and a recognition of the importance of American Indian perspectives in the rapidly evolving fields of AI,” said Dr. Kite, who is an award-winning Oglála Lakȟóta artist and academic, and Bard MFA ’18 alum. “Our goal is to develop ethical methodologies for systems grounded in Indigenous knowledge, offering new guidelines and models through collaboration between Indigenous scholars and AI researchers, challenging the predominantly Western approach to AI. Wihanble S’a (WEE hah blay SAH) means dreamer in Lakota, and we are dreaming of an abundant future.”

The NEH designation will support the Center’s initiatives, including the establishment of a dedicated facility on Bard College’s Massena Campus. This facility will serve as a collaborative hub, bringing together scholars from across diverse academic disciplines—including computer science, cognitive and neuroscience, linguistics, ethics, and Indigenous Studies—to engage in interdisciplinary research and educational activities.

In addition to research, the Center will host public events, workshops, and an interdisciplinary Fellowship and Visiting Scholars program, all aimed at advancing the field of Indigenous-informed AI. The Center’s work will complement the recruitment and support of Indigenous students ongoing at Bard’s Center for Indigenous Studies, enhancing Bard College’s commitment to being a leader in Indigenous studies in the United States as well as complementing Dr. Kite’s work with the international Abundant Intelligences Indigenous AI research program. Wihanble S’a Center’s designation as an NEH Humanities Research Center on AI underscores Bard College’s dedication to fostering innovative, socially responsible research that bridges the humanities and technological advancements.

Patrick Kindlon ’08, the frontman of the punk post-hardcore band Drug Church, was profiled in Rolling Stone in advance of the release of the band’s fifth studio album PRUDE on October 4. Drug Church is a collaboration between Kindlon as lyricist and musicians Nick Cogan, Cory Galusha, Chris Villeneuve, and Patrick Wynne.

Drug Church started as a side project a few years after Kindlon left Bard, when he worked with the band Self Defense Family. Rolling Stone described Kindlon’s lyrics as “equal parts poetic and cutting” and said the band’s music as a whole is full of “raw humanity” and “a sympathetic touch.” Speaking about PRUDE’s content, Kindlon said he was interested in writing about ordinary people whose lives take an unexpected turn. “I’m very sympathetic to things just going a little out of control for you.”

Bard alumna Michelle Handelman ’01 was awarded an $8,000 grant from the New York Foundation for the Arts (NYFA) as part of their NYSCA/NYFA Artist Fellowship program. The triennial program is highly competitive, and Handelman was one of only 87 artists selected out of an applicant pool of 4,587 this year. “I am endlessly grateful to have received this NYSCA/NYFA Artist Fellowship,” Handelman said. “I’m excited to use it to shoot my new project, DELIRIUM, a multichannel installation featuring the amazing performers Lydia Lunch, Christeene, M Lamar, and Shannon Funchess.” Handelman said she appreciated the “unrestricted access” the fellowship afforded to its winners, who are chosen at all stages of their lives as artists. “It’s a beautiful thing,” she said.

A recent column in The Chronicle of Higher Education describes how, in the three years since the Taliban took power, the exiled American University of Afghanistan (AUAF) is thriving, enrolling 1000+ students in 20 different countries. AUAF President Ian Bickford SR ’95, and former provost of Bard College at Simon’s Rock, explains that liberal arts education is particularly important in authoritarian societies because it encourages agency and critical and independent thinking. “For our students, education is their lifeline,” said Bickford. AUAF offers a dual degree with Bard College and AUAF students can enroll in OSUN Online Courses.

Bard College announces the creation of The Barbara Ess Fund for Artistic Expression in Photography. This fund is made possible through a generous endowment from the Schwartz Family to honor their sister, Barbara Ess, a beloved teacher, colleague, mentor, artist, friend, and much-loved family member. The Barbara Ess Fund for Artistic Expression in Photography is an annual award that will cover the cost of course-related materials for a limited number of Bard College photography students on financial aid.

After taking some time to process the loss, Barbara’s sisters, Janet and Ellen, have decided to honor Barbara by creating a special endowment fund at Bard College, The Barbara Ess Fund for Artistic Expression in Photography. This fund will allow students on financial aid to fully participate in photography classes. They believe Barbara would have loved that.

After joining the faculty at Bard in 1997 as a professor in the photography department, Barbara Ess committed herself to inspiring and encouraging her students to be the most interesting artists they could be. She shared her unique perspective and approach to photography and art in a way that connected with her students, demanding only that the work be honest, authentic, and thoughtful. Her students loved and respected her. Many of them have gone on to make impressive art and enjoy successful careers.

According to former student and Co-Chair in Photography at Bard MFA, Megan Plunkett, MFA ’17, “Barbara Ess was an artist of immense power and I continue to be amazed by all that she accomplished in her work. As a teacher, she was abuzz with ideas, energy, and experiments. She gave us the gift of being seen as artists, and the freedom to be ourselves in our studios. She changed so many of her student’s lives, mine very much included. It is my absolute pleasure to speak on behalf of the Barbara Ess Fund for Artistic Expression. In funding materials for photo students with financial need, Barbara’s frenetic, infectious joy for making will continue to thrive in new generations of Bard artists, something I know would bring her immense joy in return.”

To donate to the fund via Bard’s secure website, please click here. For other ways to give to the fund, please click here. Note all contributions are tax deductible to the fullest extent of the law. We encourage you to check with your employer to ask if your donation can be matched.

About Barbara Ess
Barbara Ess was born in 1944 in Brooklyn, NY. In 1969 she received her BA in Philosophy and English Literature from the University of Michigan in Ann Arbor, MI. Ess has been the subject of several solo exhibitions, including at The New Museum of Contemporary Art, New York, NY (1985); High Museum of Art, Atlanta, GA (1992); and Moore College of Art, Philadelphia, PA (2003). She has also participated in many group exhibitions, including Currents, Institute of Contemporary Art, Boston, MA (1985); Postmodern Prints, Victoria and Albert Museum, London, England, UK (1991); Bowery Tribute, The New Museum of Contemporary Art, New York, NY (2010); and Who You Staring At: Culture visuelle de la scène no wave des années 1970 et 1980, Centre Pompidou, Paris, France (2023). Ess died in 2021 in Elizaville, NY.

The poem “Sudanese Saying” by Bard College alum Pierre Joris ’69 was featured as Poem of the Week in the Guardian. Joris’s work relays the pain and injustice of the 2016 demolition of the refugee encampment once known as the Calais “Jungle” in France, where the inhabitants numbered about 10,000 when they were evicted and the camp demolished. “Poems that put the case for the rights and dignity of refugees often adopt a refugee’s persona,” writes Carol Rumens for the Guardian. “It’s remarkable that Joris’s carefully distanced manner and elegant precision are able to make a statement as powerful—one at whose climax the translated ‘Sudanese saying’ burns into the mind.”
 

Jonian Rafti ’15, a Bard College alumnus, will be inducted into the first annual Andrew Goodman Alumni Hall of Fame. The inaugural cohort includes 10 Andrew Goodman alumni, one from each year of the program since it began in 2014. Inductees are recognized not only for their contributions during their time as Andrew Goodman Ambassadors or Puffin Democracy Fellows, but also for their continued dedication to the Goodman organization’s mission to make young voices and votes a powerful force in democracy by training the next generation of leaders, engaging young voters, and challenging restrictive voter suppression laws. Rafti is an associate in the Corporate Department and a member of the Health Care Group at Proskauer Rose LLP, representing private equity investors, health systems, management companies, physician groups, and lenders in complex transactional and health care regulatory matters. He has previously served as member of the Board of Directors and Vice Chair of the Andrew Goodman Foundation, and as a member of  Bard’s Center for Civic Engagement’s Young Alumni/ae Advisory Council.

Bard alumna Micah Gleason GCP ’21 VAP ’22 was profiled in the New York Times for a piece which for a year followed five students attending the Curtis Institute of Music in Philadelphia. Gleason is “an easygoing yet fiercely skilled conductor and singer,” writes Joshua Barone for the Times. “On the eve of graduation, Gleason presented a workshop performance of a chamber opera she was developing with Joanne Evans, a former classmate from Bard College and her duo partner.” The Curtis Institute of Music educates and trains exceptionally gifted young musicians to engage a local and global community through the highest level of artistry. Students at Curtis hone their craft through more than 200 orchestra, opera, and solo and chamber music offerings and programs, bringing arts access and education to the community.

Jacquelyn Stucker ’13, an alumna of Bard’s Graduate Vocal Arts Program, was reviewed in the New York Times for her role as Delilah in the opera Samson at the Aix-en-Provence festival. Samson, a never-performed opera by Voltaire and Rameau, two of Enlightenment France’s most important cultural figures, was performed as an updated production with pieces drawn from other Rameau works to replace the original score, which was lost some 250 years ago. The Aix production “retains the hypnotic continuity of Rameau’s complete operas, their steadiness and also their variety, veering from festive to soulful, from raucous dances to hushed, hovering arias and radiant choruses,” writes Zachary Woolfe for the New York Times.  “The mezzo-soprano Lea Desandre (Timna) and the soprano Jacquelyn Stucker (Dalila) are both exquisitely sensitive in their floating music.”