Newsmakers

The latest issue of the Bardian informs the Bard community of news from the College and Bard alumni/ae. The Spring 2023 Bardian features articles by alumni/ae and faculty, class notes, alumni/ae profiles, obituaries, and the honor roll of donors. 

Top Stories 
Maya Lin—Dancing about Architecture
Sonita Alizada '23
Gilman Winners Go Far
Mneesha Gellman '03
A Place to Rethink
Trustee Leader Scholar Program at 25

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On Sunday, April 30, the film Miúcha, The Voice of Bossa Nova will have its first public premiere at Bard College. Produced by alumnus Mostafiz ShahMohammed ’97, the film will be screened in Bard’s Jim Ottaway Jr. Film Center at 4 pm, with a reception to follow until 6:30 pm. The event is cosponsored by the Office of the President, the Latin American Students Organization, and the Office of Alumni/ae Affairs. This event is free and open to the public with limited space. RSVP to reserve: https://bardian.bard.edu/register/miucha-premiere. 
 
This groundbreaking documentary, which received global recognition at Telluride Film Festival, Toronto International Film Festival (TIFF), and Rio Film Festival, explores the illustrious life of Brazilian singer Heloísa Maria Buarque de Hollanda, known by her artistic name Miúcha, and captures the story of her unique talent. 

Miúcha was often overshadowed by the male musicians in her life: she was the mother of Grammy-nominated musician Bebel Gilberto, former spouse of João Gilberto—known as the father of bossa nova—and sister of the legendary Chico Buarque. Miúcha, The Voice of Bossa Nova serves as a much-needed correction to this perspective, highlighting her life and her extraordinary contributions to the bossa nova musical genre. “Miúcha’s vibrant spirit couldn’t be held back, even as she struggled to find her own voice in a man’s world,” said Marta Sanchez, the film’s producer, CEO of FILMZ LLC, and executive director of Pragda, a leading distributor for the newest Latin American, Spanish, and Latinx cinema. “She earned unprecedented success, becoming a symbol of female resilience and a musical legend forever.”

With a stunning display of never-seen-before archival footage, photos, animation, and audio recordings, the film is an intimate exploration of the artist’s life and career as she embraced her talent as a performer and songwriter and emerged as the true voice of bossa nova.

“It is a rare and exciting opportunity to make a film with such a strong connection to Bard,” said ShahMohammed. Produced, directed, and edited by Bardians, including recent alumni/ae Hakima Alem ’21, Emanuel Castro ’22, Stela Gatti ’21, and Julie Reed ’22, the documentary is an important step towards reviving Miúcha’s musical legacy and introducing a new audience to her original work. “Building on Bard’s exceptional focus on critical thinking and creativity, we want this film to inspire the next generation of artists and activists to become the voices of change, addressing the most pressing issues of equity.”
 

New York capital region’s public media network WMHT recently featured the Bard Prison Initiative (BPI) in its new video series, Work in Progress, which shares stories of people navigating a rapidly changing economy and how they respond to the evolving needs and conditions of work. This episode, “How College in Prison is Changing Lives,” explores the transformative power of education in prison programs. BPI Upstate Reentry Coordinator Shawn Young ’19, Director of Special Projects at the Center for Community Alternatives in Brooklyn Tammar Cancer ’17, BPI Director of Reentry Jed B. Tucker, and BPI alumnus Gordon Davis ’13 are interviewed about the impact BPI’s work has had on them personally as well as the long-term outcomes of receiving a liberal arts education in prison. 

Fashion designer and Bard alumnus Brandon Blackwood ’13 was one of 10 new members inducted into the Council of Fashion Designers of America (CFDA) this year. Thom Browne, chairman of the CFDA, said, “Our newest members represent everything America has to offer . . . diversity . . . creativity . . . and true individual talent.” Blackwood's eponymous accessories brand first made its mark in the fashion world with a tote embellished with the words: “End Systemic Racism.” Now, Blackwood’s fashion label has expanded to include statement shoes, outerwear, and soon swimwear. 

In a recent designer profile published in Harper’s Bazaar, Blackwood says, “These last two years for me have been really about finding the brand’s aesthetic and really beginning to mold itself. We built the foundation in the last few years, but—I know it sounds corny—we’re trying to really find our voice.”

Tschabalala Self ’12, visiting artist in residence in Studio Arts, is the subject of her first solo European museum exhibition Tschabalala Self: Inside Out, on view at Kunstmuseum St. Gallen in Switzerland through June 18. Curated by Gianni Jetzer, the show centers the Black body, especially the female Black body, through the conceptual and compositional lens of the artist in what Self has termed as a “pantheon of invented characters.” Featuring the show in its weekly spotlight, Artnet News writes: “Though clearly deeply rooted in the tradition of painting, the compound of materials and techniques within Self’s two-dimensional compositions defy easy categorization . . . The figures are singular and specific, yet they are far from traditional portraiture.”

The London run of Bard Fisher Center’s reorchestrated revival of Rodgers and Hammerstein’s Oklahoma! has won two 2023 Olivier Awards. Director Daniel Fish’s Tony Award–winning production of Oklahoma!, which premiered at Bard SummerScape in 2015, won the Olivier Award for Best Musical Revival, and Arthur Darvill won Best Actor in a Musical for his leading role as Curly McLain. Considered the United Kingdom’s most prestigious stage honors, the Laurence Olivier Awards are presented annually by the Society of London Theatre to recognize excellence in professional theater in London. This year’s award ceremony and celebration took place on April 2 at London’s Royal Albert Hall. 

The widely acclaimed production of Oklahoma!, directed by Daniel Fish, originated as a Bard College undergraduate Theater Program production in 2007. The Fisher Center produced it professionally in SummerScape 2015, and it subsequently transferred to St. Ann’s Warehouse in Brooklyn and on to Broadway, where it won a Tony Award for Best Revival of a Musical in 2019. In 2022, the production moved to the Young Vic in London and is currently playing in London’s West End at the Wyndham’s Theatre. Patrick Vaill ’07 reprises his role as Jud Fry—which he played in Bard’s initial student performance and in the SummerScape, off-Broadway, and Broadway productions—in the London staging.

For further reading:
In the Smithsonian Magazine’s recent article, “Behind ‘Oklahoma!’ Lies the Remarkable Story of a Gay Cherokee Playwright,” Patrick Vaill ’07 discusses the complexity and vulnerability of the character Jud Fry, a role he has played on and off for the past 16 years.

 

Bard alumna Juliana Maitenaz ’22 has received an independent study–research Fulbright Scholarship to Brazil for the 2023–24 academic year. Her project, “Rhythm and Statecraft,” seeks to identify Brazilian percussion and rhythms as a method of cultural communication. Maitenaz, a former Conservatory student, graduated from Bard last May with a BA in Global and International Studies and a BM in Classical Percussion Performance. 

Her project, which she aims to conduct in São Paulo, will focus on how percussional elements in the Brazilian traditions of Carnival and Samba School performances are instrumental to the country’s statecraft and national identity. The goal of her research is to examine international communication and collaboration through cultural and musical diplomacy. “I’m thrilled to have the opportunity to learn more about the role Brazilian percussion plays as an inspiring means of cultural communication,” Maitenaz said. 

The Fulbright U.S. Student Program expands perspectives through academic and professional advancement and cross-cultural dialogue. During their grants, Fulbrighters will meet, work, live with, and learn from the people of the host country, sharing daily experiences to facilitate cultural exchange.

Bard alumnus Dariel Vasquez ’17 appeared on the Today Show, speaking to the importance of peer mentoring and how it changed his life as a teenager. Now he’s paying it forward with Brothers@, a program he cofounded as a Bard student to support young men of color in high school and through college. In Vasquez’s experience, small acts of support and educational investment can make an outsized impact on a student’s trajectory. “It’s a story of making sure that we remember to always take chances on our young people and believe in them,” says Vasquez. “The adults in my life audaciously believed in me and took a chance on me and my future.”

Candice Hopkins (Carcross/Tagish First Nation) CCS ’03 recently joined Bard’s faculty as part of the College’s transformative initiatives in Native American and Indigenous studies, developed in partnership with Forge Project and supported by a $50 million endowment. Hopkins, CCS Bard Fellow in Indigenous Art History and Curatorial Studies and Forge Project’s executive director, speaks with Shanna Ketchum-Heap of Birds (Diné/Navajo) for ArtReview about Indigenous self-determination and the importance of this new collaboration between the Native-led arts and cultural organization Forge and Bard College. “We realized that we could attempt to enact quite radical institutional change through a partnership between Forge and Bard,” said Hopkins. “One of those involved naming: American Studies is now American and Indigenous Studies. There are cluster hires for faculty at all different levels, and scholarships (including living expenses) for Native students. There is also support for the recruitment of Native students, because Native students do not always know what opportunities are out there for them. And if they do not know then they are not going to apply. But if they also do not see themselves represented, people are going to feel really alienated when they come to a place.” 

Hopkins notes that these College-wide initiatives, including the establishment of a Center for Indigenous Studies, were “built upon the good work that Bard was already doing with their Andrew W. Mellon grant called ‘Rethinking Place: Bard-on-Mahicantuck’. At the center of it was the question of ‘how do we make land acknowledgments actionable?’ because they have become often rote, performative and not based on real collaboration or community engagement.”

Announced in September 2022, these initiatives are having an immediate impact on Bard’s community and its undergraduate and graduate academic programs. “The intent was for this to be felt right away, and I am already seeing it happening. People are coming here; more Native folks are coming to teach and be engaged with postdoctoral students. It will be interesting to see what comes out of it and what students do, what impact that they make,” she said. 

Hopkins, who currently advises and teaches at CCS Bard, will curate a major exhibition Indian Theater, opening June 24, 2023 at the Hessel Museum of Art.

Speaking with Mira Jacob on Thresholds, Layli Long Soldier MFA ’14 said she will sometimes watch cute animal videos on YouTube in order to get into a mental space conducive to creativity. The method is comical, but the effect is integral to Long Soldier’s practice. “I have to be empty of all of the daily concerns and societal concerns, to a certain degree,” she said. “Then there’s a deeper Layli that’s allowed to come.” Discussing the creative life at length, Long Soldier emphasized the need to accept one’s limitations and to work within them, achieving “creative liberation,” and the need for artists to free themselves from pervasive myths about creativity. “I think there is a false belief that it’s always there,” Long Soldier said. “It is, as they say, a practice. You have to learn the ways to access it, and to use it, and to keep it vibrant and keep it alive.” Winner of the National Book Critics Circle Award in Poetry and the PEN/Jean Stein Book Award, Long Soldier will be awarded the Charles Flint Kellogg Award in Arts and Letters this May at Bard College’s 163rd Commencement.

Photographer Emily Allen ’22 talks with F-Stop magazine about her inspirations, creative practice, and current project “Sit Tibi Terra Levis,” which originated as her Senior Project and was recently featured in the magazine. “With this portfolio, I hope to draw attention to photography as a process and an object and its humanity–its connection to death, to life, and to memory,” said Allen, who studied photography, classics, and medieval studies at Bard. “I used the techniques we use to attempt to preserve ourselves throughout history to preserve my images.” The photographic prints in her book were created using processes humans have historically used on our bodies after death. Some were brushed with oil according to ancient Greek rites, others soaked in honey as the Babylonians did, some were processed in simulation of modern American chemical embalming, and others incompletely fixed so they continue to degrade and decompose over time. In this project, Allen was fascinated by the kinds of similarities and subversions these processes had when used on photographs versus on our bodies.
 
When looking at images, Allen doesn’t have one strict definition of what a photograph can be, rather she looks for resonance. “Literally the word photograph means ‘light drawing’–to me anything made using light sensitive materials and light is a photograph whether it is representative of our physical world or not . . . A good photograph convinces me of the reality in the world within the boundaries of the paper–I have to believe in it. I love when photographs feel like bubbles, each containing their own little universe,” she says.

American theater and opera director and cofounder of SITI Company Anne Bogart ’74, who studied drama and dance at Bard and received an honorary doctorate of fine arts from the College in 2014, has won a 2023 Obie Award for Lifetime Achievement. The Obie Awards honor the highest caliber of off-Broadway and off-off Broadway theater to recognize brave work, champion new material, and advance careers in theater. Bogart accepted her honor at the 66th Obie Awards ceremony in New York City. 

“In 1974, fresh out of college, I moved to New York City. There was nowhere else in the world that made sense to me. I wanted to be where theater was happening. And I wanted to direct plays,” she said in her acceptance speech. In 1992, Bogart, along with Japanese director Tadashi Suzuki and a group of like-minded artists interested in revitalizing and redefining contemporary theater in the United States, founded SITI Company. Bogart was honored by the Obie judges for her 30 years of work with SITI Company, an artistic ensemble company, which created more than 50 productions presented at venues around the world, and pushed the boundaries of contemporary theater through innovative approaches to actor training, collaboration, and cultural exchange. 

In December 2022, Bard’s Fisher Center presented the world premiere of SITI Company’s reimagining of Charles Dickens’ A Christmas Carol, codirected by Anne Bogart and Tony Award winner Darron L West. The work, commissioned by the Fisher Center, was the final production in SITI Company’s 30th anniversary “Finale Season.” 

The American Academy of Arts and Letters has announced the 16 recipients of this year’s awards in music. Among the winners, Bard College Conservatory and Bard Film and Electronic Arts alumnus Luke Haaksma BA/BM ’21 was awarded a Charles Ives Scholarship. Charles Ives Scholarships are $7,500 each and awarded to composers for continued study in composition, either at institutions of their choice or privately with distinguished composers. Harmony Ives, the widow of Charles Ives, bequeathed to the Academy the royalties of Charles Ives’s music, which has enabled the Academy to give awards in composition since 1970. The award winners were selected by a committee of Academy members: Julia Wolfe (chair), Annea Lockwood, David Sanford, Christopher Theofanidis, Augusta Read Thomas, Chinary Ung, and Melinda Wagner. The awards will be presented at the Academy’s Ceremonial on May 24, 2023. Candidates for music awards are nominated by the 300 members of the Academy.

Luke Haaksma is a composer and filmmaker currently based in New Haven, Connecticut. His work has been performed at various festivals, universities, and venues throughout the United States and abroad. Haaksma is a past winner of both the Diana Wortham Emerging Artist Scholarship and the Ione M. Allen scholarship for the performing arts. His piano etude “Crystal Murk” was selected by Jihye Chang to be toured internationally as part of her multi-year solo recital project, “Continuum 88.” While an undergraduate at Bard College and the Conservatory, Haaksma studied composition with Joan Tower, George Tsontakis, and Lera Auerbach, piano with Blair McMillen, and Hammered Dulcimer with David Degge. He was the Conservatory’s  Joan Tower Composition Scholar. He was awarded the Sidney Peterson prize in experimental film, “Best Original Score” by the Dreamachine international film festival, and Official Selections from other Montreal and Los Angeles based festivals. Luke was honored as a 2021 National Hammered Dulcimer Championship finalist at the Walnut Valley music festival in Winfield, Kansas. His most recent string quartet, “talking” piece, was premiered in New York by The Rhythm Method as part of the Lake George Composers Institute. This past summer he was a fellow at the Brandeis Composers Conference. Luke began graduate studies at the Yale School of Music this past fall.

The American Academy of Arts and Letters was founded in 1898 as an honor society of the country’s leading architects, artists, composers, and writers. Early members include William Merritt Chase, Childe Hassam, Julia Ward Howe, Henry James, Edward MacDowell, Theodore Roosevelt, Augustus Saint-Gaudens, John Singer Sargent, Mark Twain, and Edith Wharton. The Academy’s 300 members are elected for life and pay no dues. In addition to electing new members as vacancies occur, the Academy seeks to foster and sustain an interest in Literature, Music, and the Fine Arts by administering over 70 awards and prizes totaling more than $1 million, exhibiting art and manuscripts, funding performances of new works of musical theater, purchasing artwork for donation to museums across the country, and presenting talks and concerts.

For Anat Ebgi CCS ’08, the arts culture in Los Angeles encourages a feeling of comradery in an environment where people are more open to taking risks. “Last year, I opened my third gallery in Los Angeles on Fountain Ave in East Hollywood,” Ebgi writes for Artnet News. “At the time, the dealers I’d been surrounded by for years were expanding to New York, Tokyo, Seoul—faraway cities with entirely different vibes and histories. But for me, it’s still all about L.A. There’s something special about this place—about the way it fosters talent and encourages creativity and exploration.” In her view, there is a sense of grassroots collaboration that distinguishes the local art scene, and the collectors themselves are often in film or music, which “informs their approach to the art world and collecting,” she continues. “They’re looking less for trophies than for artworks that can generate an imaginative spark, something that can get ideas flowing.”

Since first partnering with Brothers@ and Bard College in 2015, students at Kingston High who participated in the program have “achieved an overall graduation rate of over 90%,” writes the Daily Freeman. Brothers@, founded at Bard by Dariel Vasquez ’17 and Harry Johnson ’17, partners with institutions to improve the educational outcomes of young men of color through their “Our Space” methodology. At Kingston High, high school students are matched with current Bard students as mentees “to foster academic persistence as well as positive identity and character development.” With the success of the program, Brothers@ and Kingston High hope to expand their offerings to create a “brotherhood-bridge-program” for seventh and eighth graders “to receive support, mentoring, and guidance before they enter high school.”

Opus 40 has reached an agreement to purchase the historic home of Bard professor, alumnus, and artist Harvey Fite ’30. Bard College was a partner in the process, and will provide programming support in the house going forward, to include educational programs, workshops, and faculty residencies. Harvey Fite created Opus 40, the 6.5-acre bluestone sculpture park in Saugerties, New York, and built the house. The purchase was made possible in part by major support from the Thompson Family Foundation, the New York State Assembly, and the town of Saugerties.

Bard College President Leon Botstein said, “It’s an honor to participate in the preservation of this unique sculpture and land art made by an alumnus and long-time faculty member of Bard and our neighbor in the Hudson Valley. We look forward to expanding joint programming with Opus 40 in the future and are thankful to the Richards family for their efforts preserving Harvey Fite’s legacy.”

Harvey Fite was a member of the faculty at Bard College for 36 years and founded the College’s art department before his retirement in 1969.

Photographer Lisa Kereszi ’95 has won a Louis Comfort Tiffany Foundation biennial competition award for $20,000 granted to dedicated artists whose work shows promise of further development. Kereszi is among 20 artists selected by the foundation for the 2022 biennial competition. The monetary grant is intended to give artists the opportunity to produce new work and to push the boundaries of their creativity. By doing so, it seeks to make a difference in the lives of the recipients at a moment in their career when they need it most. The awards, accompanied with the prestigious recognition, enhance the visibility and stature of artists in the art world.

Artists who work in painting, sculpture, printmaking, photography, video, and craft media are eligible for the award. Approximately 50 designated nominators from throughout the United States recommend candidates to be considered. Nominees are then reviewed and vetted by a jury of seven individuals. Nominators and jury members are artists, critics, museum professionals, and members of the Foundation’s Board of Trustees.  

Lisa Kereszi was born in 1973 in Pennsylvania and grew up outside Philadelphia with a father who ran the family auto junkyard and a mother who owned an antique shop. In 1995, she graduated from Bard College with a BA in photography and literature/creative writing. In 2000, Kereszi went on to earn an M.F.A. in photography from the Yale School of Art, where she has taught since 2004 and is now Senior Critic in Photography and Director of Undergraduate Studies in Art. She recently was a MacDowell Fellow and a Gardner Fellowship Finalist. Her work is in many private and public collections including the Whitney Museum of American Art, New Museum of Contemporary Art, Brooklyn Museum of Art, Study Collection of the Museum of Modern Art, Berkeley Art Museum, and the Yale University Art Gallery. Her publications include: The More I Learn About Women (2014), Joe’s Junk Yard (2012), Fun and Games (2009), Fantasies (2008), Governor’s Island (2004), and Lisa Kereszi: Photographs (2003). She has two books coming out later this year, including one published by Minor Matters, the photobook imprint run by fellow Bardian, Michelle Dunn Marsh ‘95.

About the Louis Comfort Tiffany Foundation
Established in 1918 by L.C. Tiffany, son of Charles Lewis Tiffany who founded the New York jewelry store Tiffany & Co., the Louis Comfort Tiffany Foundation is the earliest artist-endowed foundation in the United States, and is the first created by an artist during his or her lifetime. In 1946 the Foundation changed its program from the operation of an artists’ retreat to the bestowing of grants to artists. These grants were awarded annually through a competition in painting, sculpture, graphics, and textile design; a range of categories reflecting Tiffany’s manifold talents and interests. Each year applicants sent examples of their work to the National Academy of Design, where it was exhibited and judged. The Foundation also supported a plan by which artworks were purchased and donated to institutions, an apprenticeship program enabling young craftspeople to work with masters, and a program of direct grants to young painters and sculptors. In 1980, the grant programs were consolidated into a biennial competition. Today, the competition grants $20,000 awards to artists selected for their talent and individual artistic strength. Since 1980, the competition has granted $9,534,000 in awards to 491 artists nationwide.

Arthur Holland Michel ’13, Bard alumnus and a senior fellow at Carnegie Council for Ethics in International Affairs, writes for the Washington Post that the Chinese balloon spotted over the United States—just one of the many instruments observing the Earth from the sky—is an important lesson in the increasing prevalence of surveillance technology. “If the Chinese stratospheric balloon spotted floating about a dozen miles above the northern United States is indeed a spy craft, as the Pentagon claims, it’s hard to believe that it was meant to chart its course in secrecy,” Michel writes. “If anything, it was more likely dispatched precisely for the purpose of being seen.” In Michel’s view, the psychological impact of the balloon may hold more weight than its actual presence, as the sky is already filled with aerial equipment designed to collect information, from satellites to spy planes to drones. It is not “solely the prying digital eyes of nefarious foreign balloons and spy sats that the public ought to be concerned about,” he continues. “In the past decade, aerial surveillance has quietly become a common practice among domestic police agencies at every level of government.”

Tanya Marcuse SR ’81, artist in residence in the Photography Program at Bard, has received a MacDowell Artist Residency Fellowship for spring/summer 2023. Marcuse’s fellowship will support work toward the completion of her project, Book of Miracles, to be published by Nazraeli Press. This project, in direct conversation with the 16th-century Book of Miracles, a compendium of biblical, astronomical, and apocalyptic miracles, aims to visualize phenomena that seems to defy the laws of nature, using fire, paint, and the staging of fantastical scenes. Photography often walks a thin line between fact and fiction, or dwells in a realm where the two cannot be distinguished; the proposed work takes part in this pendulum swing between belief and doubt.

MacDowell Fellows’ applications are reviewed by a panel of esteemed professionals in each discipline. These panelists make their selections based on applicants’ vision and talent as reflected by a work sample and project description. Once at MacDowell, selected Fellows are provided a private studio, three meals a day, and accommodations for a period of up to six weeks. Marcuse was previously a MacDowell Fellow in 2018.

The Andy Warhol Foundation for the Visual Arts has awarded a Curatorial Research Fellowship to Susan Aberth, Edith C. Blum Professor of Art History and Visual Culture, and Bard alumnus Gilbert Vicario CCS ’96, chief curator at Pérez Art Museum Miami (PAMM). The fellowship of $50,000 will fund their research for a new exhibition planned for 2024 at PAMM, which will examine metaphysical and esoteric impulses that influenced a cohort of artistic and academic individuals in the Americas in the 20th century, with a prominent focus on women, queer, and marginalized artists. “The Spring 2022 grantees are notable for their resilience, ingenuity, and dedication to supporting artists at every stage of their careers,” said Rachel Bers, the program director at the foundation. “As the culture shifts, they work side by side with artists to find ways to critically and creatively engage the forces that shape our world.”

Further reading:

Bard College Professor Susan Aberth Awarded a Nancy B. Negley Artists Residency

Bard College Assistant Professor of Dance Souleymane Badolo and MFA alum in Music/Sound and American and Indigenous Studies Program faculty member Kite (aka Suzanne Kite MFA ’18) have won 2023 Creative Capital “Wild Futures: Art, Culture, Impact” Awards, which will fund the creation of experimental, risk-taking projects that push boundaries formally and thematically, venturing into wild, out-there, never-before-seen concepts, and future universes real or imagined. 
 
Creative Capital awarded 50 groundbreaking projects—comprising 66 individual artists—focused on Technology, Performing Arts, and Literature, as well as Multidisciplinary and Socially Engaged forms. Souleymane Badolo (with Jacob Bamogo) won an award in Dance. Kite won an award in Technology. Awardees will receive varying amounts up to $50,000 in direct funding to help finance their projects and build thriving artistic careers. The award provides a range of grant services from industry connections and financial planning to peer mentorship and community-building opportunities. Grant funding is unrestricted and may be used for any purpose to advance the project, including, but not limited to, studio space, housing, groceries, staffing, childcare, equipment, computers, and travel. The combined value of the 2023 Creative Capital Awards totals more than $2.5 million in artist support. 
 
“The 2023 Creative Capital cohort reaffirms the unpredictable and radical range of ideas alive in the arts today—from artists working in Burkina Faso to Cambodia and across the United States. We continue to see our democratic, open-call grantmaking process catalyze visionary projects that will influence our communities, our culture, and our environment,” said Christine Kuan, Creative Capital President Executive Director. 
 
The Creative Capital grant is administered through a national open call, a democratic process involving external review of thousands of applications by international industry experts, arts administrators, curators, scholars, and artists. The 2023 grantee cohort comprises 75% BIPOC artists, representing Asian, Black or African American, Latinx, Native American or Alaskan Native, Native Hawaiian or Pacific Islander, and Middle Eastern-identified artists; 10% of artists identify as having a disability; and 59% of artists identify as women, gender nonconforming, or nonbinary. The cohort includes emerging, mid-career, and established artists between the ages of 25 and 69. The artists are affiliated with all regions of the United States and its territories, as well as artists based in Cambodia, Burkina Faso, Germany, and Japan. 
 
Kite also won a 2023 United States Artists Fellowship in Media. The award honors her creative accomplishments and supports her ongoing artistic and professional development. Kite is one of 45 USA Fellows across 10 creative disciplines who will receive unrestricted $50,000 cash awards. USA Fellowships are awarded to artists at all stages of their careers and from all areas of the country through a rigorous nomination and panel selection process. Fellowships are awarded in the following disciplines: Architecture & Design, Craft, Dance, Film, Media, Music, Theater & Performance, Traditional Arts, Visual Art, and Writing. Learn more about USA Fellowships here.
 
Souleymane ‘Solo’ Badolo is a Brooklyn-based dancer, choreographer, and founder of the Burkina Faso–based troupe Kongo Ba Téria, which fuses traditional African dance with Western contemporary dance. A native of Ouagadougou, Burkina Faso, Badolo began his professional career with the African dance company DAMA. He has also performed with Salia nï Seydou and the National Ballet of Burkina Faso, and worked with French choreographers Elsa Wolliaston and Mathilde Monnier. Badolo and Kongo Ba Téria are featured in the documentary Movement (R)evolution Africa. He appeared in the 2015 BAM Next Wave Festival; has created solo projects for Danspace, New York Live Arts, Dance New Amsterdam, Harlem Stage, the 92nd Street Y, and New York’s River to River Festival; and was commissioned to create a dance for Philadanco as part of James Brown: Get on the Good Foot, which was produced by the Apollo Theater and toured nationally and internationally. He was nominated for a Bessie Award in 2011 as outstanding emerging choreographer, received the Juried Bessie Award in 2012, and a 2016 Bessie for Outstanding Production for his piece Yimbégré, which “gloriously communicated the clash and reconciliation of the different traditions held within one’s life, one’s body.” The Suitcase Fund of New York Live Arts has supported Badolo’s ongoing research in Africa. He graduated with an MFA from Bennington in June 2013. He has been on the Bard College faculty since 2017 and previously taught at the New School, Denison University, and Bennington College. 
 
Kite aka Suzanne Kite is an Oglála Lakȟóta performance artist, visual artist, and composer raised in Southern California, with a BFA from CalArts in music composition, an MFA from Bard College’s Milton Avery Graduate School, and is a PhD candidate at Concordia University for the forthcoming dissertation, sound and video work, and interactive installation Hél čhaŋkú kiŋ ȟpáye (There lies the road). Kite’s scholarship and practice explores contemporary Lakota ontology through research-creation, computational media, and performance. Kite often works in collaboration, especially with family and community members. Her art practice includes developing Machine Learning and compositional systems for body interface movement performances, interactive and static sculpture, immersive video and sound installations, poetry and experimental lectures, experimental video, as well as co-running the experimental electronic imprint, Unheard Records. Her work has been featured in various publications, including the American Indian Culture and Research Journal, the Journal of Design and Science (MIT Press), with the award-winning article, “Making Kin with Machines”, and the sculpture Ínyan Iyé (Telling Rock) (2019) was featured on the cover of Canadian Art.

In 1965, Life hired photojournalist and Bard alumnus Steven Schaprio ’55 to photograph the then-ascendant Andy Warhol for the magazine. Life never published the photo series, and only now are they being published posthumously after Schapiro’s death in 2022. Rolling Stone featured a series of photos from Andy Warhol and Friends: 1965–1966, which “includes many never-before-seen documents of a pivotal time in Warhol’s life as he helped shape popular culture for decades to come.”

“Jon Batiste is not afraid of a jazzy suit,” writes André-Naquian Wheeler for Vogue. Photography by Visiting Artist in Residence Jasmine Clarke ’18 accompanies Wheeler’s article, showing Batiste preparing for his first performance at the White House. Batiste, who performed “The Star-Spangled Banner,” “Lift Every Voice and Sing,” and France’s national anthem “La Marseillaise,” requested that his family be in attendance, and especially his wife, the writer Suleika Jaouad, who has written about her diagnosis of an aggressive form of leukemia. “Seeing Suleika step out for her first public outing in a year after her cancer treatment meant a lot,” Batiste said. Batiste’s 89-year-old grandfather, an activist, also in attendance, commented on the symbolism of Batiste’s inclusion in the state dinner. “Discussing with [him] how the original builders of the White House were enslaved Americans whilst walking into the State Dinner as honored guests was quite a moment,” Batiste said. Clarke’s photography captures Batiste and guests preparing for the event, the musician’s excitement clear from Clarke’s vulnerable candids and striking portraits.

A “flurry of news” from COP27, the recent United Nations Climate Change Conference, meant that a policy change in the United States has gone largely unnoticed, writes Peter Howard ’03 in an opinion piece coauthored with Max Sarinsky for the Hill. It involves a change to the way the government measures the “social cost of carbon,” which “places a dollar value on greenhouse gas emissions and enables government decision-makers to weigh the costs and benefits of policies that affect climate pollution,” they write. First established under the Bush administration in 2008, the previous social cost of carbon was widely considered a “conservative underestimate.” Based in part on work done by Howard, the EPA revised the official social cost of carbon in 2020, from $51 to $190 for each ton of carbon-dioxide emissions. Now, because of action by the Biden administration, “decision-makers weighing critical policy choices will be equipped with a much more accurate tool for understanding climate impacts.”

American classical singer Julia Bullock VAP ’11 released Walking in the Dark, her debut solo album, on December 9, 2022, on Nonesuch Records. NPR named the album one of the “10 Best Classical Albums of 2022" and listed it as number 14 on the “Top 50 Albums of 2022.” “Soprano Julia Bullock's affecting solo debut, with its breathtaking spin on a deep cut by the enigmatic Connie Converse and a sublime rendition of Samuel Barber's Knoxville: Summer of 1915, traces the tenuous connections individuals share with one another and their own senses of purpose on earth,” writes NPR Music producer Tom Huizenga.

“Here’s how a popcorn company ended up buying a roller rink,” writes Alexandra Zissu for the Times Union. BjornQorn, the popular popcorn company coowned by Jamie O’Shea ’03, Bjorn Quenemoen ’03, and Stephanie Bauman ’05 needed a new facility as they expanded their business. Quenemoen and Bauman, who are married, spoke with the Times Union about their recent purchase of Skate Time 209 in Accord, New York, for just that purpose. “We were looking at a lot of the standard factory buildings. They weren’t particularly appealing to us,” said Bauman. Around the same time, a local real estate broker learned BjornQorn was in the market for a new facility. “He was like, you guys are the right people for this building,” Bauman said. Alongside converting part of the space for production, BjornQorn plans to continue operating the skate rink, including possibly adding a “sort of indoor beer garden situation.” “As long as we’re expanding, bring some joy into it. Have a laugh, drink a beer,” Bauman said. “And why not put on roller skates?”

At the 66th Evening Standard Theatre Awards celebration in London, Daniel Fish’s UK iteration of his Tony Award–winning re-orchestrated revival of Oklahoma! was named Best Musical, and Patrick Vaill ’07 took home the Best Musical Performance Award for his role as Jud Fry in the play. Vaill originated the role 15 years ago as a theater and performance senior in Fish’s 2007 Bard staging, which had been commissioned by the then Director of Bard’s Theater Program JoAnne Akalaitis. When Fish adapted the production for Bard’s 2015 SummerScape season, Vaill was cast again as Jud Fry and stayed in this role as the production went from off-Broadway to Broadway. The only remaining original cast member, Vaill joins a mixed British and American cast for the London production. “To be received by the audience and the city in this way is beyond anybody’s reasonable expectation of life,” Vaill said.

“I’m relieved this bill passed, but I don’t feel any safer or protected than we were last week,” writes Nikkya Hargrove ’05 for Parents magazine in response to the passage of the Respect for Marriage Act (RFMA) in the Senate. The act would require states to recognize same-sex and interracial marriage licenses no matter the issuing state, but Hargrove ultimately questions the RFMA’s reach and ramifications. “The bill forces us to think about what ‘protection’ means for the LGBTQIA+ community,” she writes. “It's not a one-size-fits-all kind of bill.” Hargrove remains thankful for the passage of the RFMA, but says the work continues. “We celebrate, but our fight goes on for true equality for all.”

Print magazine profiles animator Jeff Scher ’76 and looks at his most recent work: a video for Tom Petty’s “Call Me the Breeze,” from the late musician’s recently released Live at the Fillmore compilation. “All Scher needs to make his movie magic is some live-action film, a chromatic supply of watercolor and pastels and a rotoscope to get his cinematic juices boiling,” writes Steven Heller. “His films can be joyful, unforgettable and heartbreaking.”

Eliminating bail for low-level offenses has proved that you can maximize freedom while not endangering public safety, write Dyjuan Tatro ’18 and Scott Hechinger. Cash bail and the pretrial detention system disproportionately penalize poorer defendants; eliminating the requirement allows people to continue to work and support their families while fighting their charges. Yet in spite of bail reform successes, including in New York State, some Democrats have allowed Republicans to control the narrative around the policy and have even blamed bail reform efforts for midterm losses.

Bard Conservatory Orchestra, Conducted by Leon Botstein, Performs Tchaikovsky’s The Nutcracker for In-Person and Remote Audiences, December 3

Fisher Center Premieres SITI Company’s Production of Dickens’
A Christmas Carol, Co-Directed by Anne Bogart ’74 and Darron L West,
Concluding SITI Company’s “Finale Season,” December 16–18

ANNANDALE-ON-HUDSON —The Fisher Center at Bard celebrates the holidays with two seasonal classics given fresh interpretations by world-renowned artists with deep connections to the college. Leon Botstein leads the Bard Conservatory Orchestra in a symphonic concert performance of Pyotr Tchaikovsky’s The Nutcracker on December 3, and the Fisher Center presents the world premiere of SITI Company’s reimagining of Charles Dickens’ A Christmas Carol, co-directed by Anne Bogart ‘74 and Tony Award winner Darron L West. The work, commissioned by the Fisher Center, is the final production in SITI Company’s 30th anniversary “Finale Season,” and runs for three performances, December 16-18.

In its special holiday performance on December 3, the 80-piece Bard Conservatory Orchestra, with a 24-member children’s chorus, takes on Tchaikovsky’s score for perhaps the most widely performed holiday classic, the two-act ballet The Nutcracker. The concert showcases the skill of the exceptional young players comprising the orchestra. It gives Fisher Center audiences a world-class rendering of the music, which Bard visiting associate professor of music Peter Laki, in a program note, contends is “the only thing critics liked about the piece from the start,” and is “what has ensured The Nutcracker’s place in the repertoire for 130 years, and is likely to keep it there.”

After fruitful work-in-progress performances in December 2021, SITI Company returns to the Fisher Center to premiere a uniquely SITI A Christmas Carol. They conjure the ghosts of the past, present, and future to speak to our society’s immediate need for gratitude, charity, fairness, justice, and equity. The cast includes Akiko Aizawa, Will Bond, Gian-Murray Gianino, Leon Inguslrud, Ellen Lauren, Kelly Maurer, Barney O’Hanlon, Stephen Duff Webber, and special guests Violeta Picayo and Donnell E. Smith. The production features costumes and scenery by James Schuette, lighting by Brian H Scott, and sound by Darron L West.

Gideon Lester, Artistic Director of the Fisher Center, says, “For 30 years, the legendary SITI Company has been one of the most inspiring and influential American theater ensembles. It’s an honor for the Fisher Center at Bard to collaborate with the company to create their ‘finale’ production—a wholly original adaptation of A Christmas Carol that brings Dickens’ words to new life through the theatrical power of imagination—in SITI’s inimitable style. Anne Bogart is a Bard alum, so this is a fitting homecoming. We’re delighted to continue our collaboration with her at her alma mater and to welcome her superb collaborators back to the Sosnoff Theater.”

Anne Bogart has said, “SITI Company and I are thrilled to return to Bard to share our encounter with Charles Dickens’ A Christmas Carol. I graduated from Bard in 1974, and my trajectory was deeply affected by all of my experiences there. Bard instilled in me a sense of adventure and an enduring curiosity.”

Performance Schedule and Tickets

Bard Conservatory Orchestra, conducted by Leon Botstein, performs The Nutcracker on Saturday, December 3, at 8 pm EST, in the Fisher Center’s Sosnoff Theater. In-person tickets are available for a suggested donation of $15–20, and livestream access is pay-what-you-wish.

Fisher Center presents SITI Company’s A Christmas Carol Friday, December 16, at 8 pm; Saturday, December 17, at 6 pm; and Sunday, December 18, at 2 pm. Tickets are $25–65, with $5 tickets for Bard students made possible by the Passloff Pass and a 20% discount for groups of six or more.

Tickets for both events can be reserved at fishercenter.bard.edu, by phone at 845-758-7900 (Monday–Friday, 10 am–5 pm EST), or by email at [email protected].

Speaking with the Council on Foreign Relations, Rebecca Granato ’99, vice president for global initiatives for Bard College and director of OSUN Hubs for Connected Learning Initiatives, spoke to the need for systematized enrollment of refugee students into institutions of higher education. Noting that “primary and secondary education for refugees is most frequently treated as an emergency response,” Granato outlined the impact that a more inclusive educational approach would have for displaced students. “Between interrupted education and poor-quality opportunities in host countries, even the brightest youth often lack the necessary skills,” she says. Support structures like those offered through the Open Society University Network are necessary to support these students, not only in moments of crisis, but throughout their educational journeys. “We really need to create pathways and pipelines between different higher education institutions and programs,” Granato says. “We need to include connected opportunities, scholarships in countries of first asylum, and also third-country opportunities so that students can move between degree possibilities, like any of us would, who want to get a higher education.”

“Everybody loves a Toni Morrison, an Audre Lorde, a James Baldwin,” Bard alumna Xaviera Simmons ’05 said to the New York Times. “Books are fabulous, but you can’t stay in a book club or a reading circle or a listening stance and expect things to miraculously change.” Simmons’s new exhibition, Crisis Makes a Book Club, puts the question of the efficacy of reading groups as a means of accomplishing systemic change at the fore. At the center of the exhibition is “Align” (2022), a “40-foot-long wooden shedlike structure with phrases gradually coming into focus: ‘unlearning and undoing,’ ‘white-structured disasters,’ ‘commitment to transformation.’” The work, “both humorous and wholly serious,” was created in response to “a group of very wealthy, very influential and very seasoned white women in the arts, philanthropy, and academia” whom Simmons knew. Presented alongside “Align” are other works by Simmons, as well as the first solo museum show by Charisse Pearlina Weston, whose work also engages in themes of racial justice. Crisis Makes a Book Club is on display now through March 5, 2023, at Queens Museum.

On January 7, 2021, Venezuela’s Special Action Forces raided the La Vega neighborhood of Caracas, leaving 23 people dead in what the community calls the “La Vega massacre.” The special police unit has been accused of targeting working-class neighborhoods, criminalizing young men for where they live as it attempts to root out gang activity. As part of an ongoing project supported by the Pulitzer Center and a Getty Images Inclusion Grant, Bard alumna Lexi Parra ’18 gets to know the women of La Vega who are maintaining their community and pushing back against state and gang violence. 

Lexi Parra majored in human rights and photography at Bard College.

Further Reading

• As gang, police violence rages, a neighborhood tries to connect (Washington Post)
• Venezuelan-American Photographer Lexi Parra ’18 Named Recipient of a 2022 Getty Images Annual Inclusion Grant
• Bard College Student Wins Davis Projects for Peace Prize

Bard College will host a book launch and colloquium to honor the novel Eden Revisited, written by the late, distinguished alumnus László Z. Bitó ’60. Bitó, granted asylum from his native Hungary in 1956, went on to develop the gold standard drug for glaucoma as he pursued a celebrated scientific career at Columbia University. In later life, he devoted himself to writing and became a force in Hungarian intellectual life and philanthropy, and published numerous works. Eden Revisited is his first book to be published in English in more than a decade.

The colloquium brings together preeminent scholars of religion who will speak to the novel’s themes: Bruce Chilton ’71, director of the Institute of Advanced Theology at Bard, which is copublishing the book with Natus Books, Alan Avery-Peck, Kraft-Hiatt Professor in Judaic Studies at the College of the Holy Cross, and Claudia Setzer, professor of religion at Manhattan College. Leon Botstein, president of Bard College, will introduce the panel. A discussion with audience members will follow the talks.

The book launch and colloquium take place on Saturday, October 22 from 1:45 pm-3:15 pm in the Bitó Conservatory Building, Performance Space. It will also be livestreamed.

This event is part of Family and Alumni/ae Weekend at Bard College. Visit families.bard.edu for more information.

Alan Avery-Peck is Kraft-Hiatt Professor in Judaic Studies at the College of the Holy Cross, in Worcester, Massachusetts. At Holy Cross, he teaches courses on all aspects of Judaism, ranging from an introduction to Judaism to an upper-level seminar on theological responses to the Holocaust. A specialist in early rabbinic Judaism, Avery-Peck’s research focuses on early Rabbinic Judaism and the relationship between early Judaism and emergent Christianity, especially in the context of contemporary interfaith relations. Among other projects, he is part of a team of scholars and clergy producing a new presentation of the Revised Common Lectionary (http://readingsfromtheroots.bard.edu), that is, the list of Hebrew Bible and New Testament readings used in church worship. He is also a series editor and author for The New Testament Gospels in Their Judaic Context (Brill Publishers), and his commentary on Second Corinthians appears in The Jewish Annotated New Testament (Oxford University Press).

Claudia Setzer (Ph. D. Columbia) is Professor of Religious Studies at Manhattan College in Riverdale, NY. Her books include, The Bible in the American Experience (Society of Biblical Literature, 2020 with David Shefferman), The Bible and American Culture: A Sourcebook (Routledge, 2011, with David Shefferman), Resurrection of the Body in Early Judaism and Early Christianity (Brill, 2004), and Jewish Responses to Early Christians (Augsburg Fortress, 1994). She studies early Jewish-Christian relations, the development of belief in resurrection, women in the Greco-Roman era, nineteenth-century women interpreters of Scripture, and the Bible in American culture. She currently chairs the SBL group “The Bible in America” and is an associate editor for a forthcoming Study Bible from Westminster John Knox Press. In 2006, she founded the Columbia University Seminar on the New Testament. She is currently writing a book on the use of the Bible in progressive movements (abolitionism, women’s suffrage, civil rights, environmentalism, anti-trafficking).

Bruce Chilton ’71 is the Bernard Iddings Bell Professor of Philosophy and Religion and Director of the Institute of Advanced Theology at Bard College. He received his B.A. from Bard College; M.Div. and ordination to the diaconate and the priesthood from General Theological Seminary; and Ph.D. from Cambridge University. His books include Abraham’s Curse; Rabbi Jesus: An Intimate Biography; God in Strength; Rabbi Paul: An Intellectual Biography; Judaic Approaches to the Gospels; Mary Magdalene: A Biography; Revelation; Trading Places; Jesus’ Prayer and Jesus’ Eucharist; Forging a Common Future; Jesus’ Baptism and Jesus’ Healing; Visions of the Apocalypse; and Christianity: The Basics. He was editor in chief of Bulletin for Biblical Research and founding editor of Journal for the Study of the New Testament, Studying the Historical Jesus series (E. J. Brill and Eerdmans).

Artist, publisher, and Bard College alumnus Paul Chan MFA ’03 has been named a 2022 MacArthur Fellow. "He draws on a wealth of cultural touchstones—from classical philosophy to modern literature, critical theory, and hip-hop culture—to produce works that respond to our current political and social realities,” the MacArthur Foundation says, “making those realities more immediately available to the mind for contemplation and critical reflection.” Chan’s work, which “[strives] to express humanity’s complexities and contradictions through an artistic practice that moves across media,” has been exhibited in the New York Museum of Modern Art, the Walker Art Center, the Guggenheim Museum, and others. Chan received the Bard College Alumni/ae Association’s Charles Flint Kellogg Award in Arts and Letters in 2021.

The MacArthur Fellowship is a no-strings-attached award to extraordinarily talented and creative individuals as an investment in their potential. There are three criteria for selection of MacArthur Fellows: exceptional creativity, promise for important future advances based on a track record of significant accomplishments, and potential for the fellowship to facilitate subsequent creative work. Recipients may be writers, scientists, artists, social scientists, humanists, teachers, entrepreneurs, or those in other fields, with or without institutional affiliations. Although nominees are reviewed for their achievements, the fellowship is not a lifetime achievement award, but rather an investment in a person’s originality, insight, and potential.

MacArthur Fellows receive $800,000 stipends that are bestowed with no conditions; recipients may use the money as they see fit. Nominated anonymously by leaders in their respective fields and considered by an anonymous selection committee, recipients learn of their selection only when they receive a call from the MacArthur Foundation just before the public announcement.

Paul Chan received a BFA (1996) from the School of the Art Institute of Chicago and an MFA (2003) from Bard College. His work has been exhibited in solo and group exhibitions at such national and international venues as the Museum of Modern Art, New York; the Drawing Center, New York; Walker Art Center, Minneapolis; Museum of Cycladic Art, Athens; Pennsylvania Academy of Fine Arts, Philadelphia; Solomon R. Guggenheim Museum, New York; and Schaulager, Basel. He is also the founder and publisher of Badlands Unlimited (established 2010). He received the Bard College Alumni/ae Association’s Charles Flint Kellogg Award in Arts and Letters in 2021.

Further Reading

Bard Professor Sky Hopinka Named 2022 MacArthur Fellow
More about Paul Chan's Award from the MacArthur Foundation

The Lecture Series, “Second Chances: Shakespeare and Freud,” Will Be Held in November

This November, Bard College presents renowned scholars Stephen Greenblatt and Adam Phillips delivering the Anthony Hecht Lectures in the Humanities in honor of preeminent poet, alumnus, and former Bard faculty member Anthony Hecht ’44. Greenblatt, who is the John Cogan University Professor of the Humanities at Harvard University, and Phillips, who is a visiting professor in the Department of English at the University of York, will present the lecture series, “Second Chances: Shakespeare and Freud.” Yale University Press will publish the lectures.

The lecture series includes “Shakespeare’s First Chance” by Stephen Greenblatt and “Freud’s First Chance,” by Adam Phillips on Thursday, November 10, at 5 pm; “Second Chances: For and Against” by Adam Phillips on Friday, November 11, at 10 am. Free and open to the public, these lectures will take place in Weis Cinema of the Bertelsmann Campus Center at Bard College. A reception precedes each lecture. For more information about this lecture series, please call (845) 758-7405.

The final lecture in the series, “Shakespeare's Second Chances” by Stephen Greenblatt will be held on Wednesday, November 16 at 6:30pm at The Morgan Library & Museum in New York City. Tickets for the Morgan Library lecture are $25; $20 for Morgan Members and Bard College affiliates; and free for students with a valid ID. Reserve tickets here or call (212) 685-0008, ext. 560.

Stephen Greenblatt, Shakespearean scholar, literary historian, and author, is Cogan University Professor of the Humanities at Harvard University. He is the author of 14 books, including Tyrant: Shakespeare on Politics; The Rise and Fall of Adam and Eve; The Swerve: How the World Became Modern; Shakespeare’s Freedom; Will in the World: How Shakespeare Became Shakespeare; Hamlet in Purgatory; Marvelous Possessions; and Renaissance Self-Fashioning. He is General Editor of The Norton Anthology of English Literature and of The Norton Shakespeare, has edited seven collections of criticism, and is a founding editor of the journal Representations. His honors include the 2016 Holberg Prize from the Norwegian Parliament, the 2012 Pulitzer Prize and the 2011 National Book Award for The Swerve, MLA’s James Russell Lowell Prize (twice), among many others.

Adam Phillips, psychoanalyst and writer, was formerly Principal Child Psychotherapist at Charing Cross Hospital in London. He is a Visiting Professor in the Department of English at the University of York, and a Fellow of the Royal Society of Literature. He is the author of many books of psychoanalysis and literary criticism, most recently On Wanting To Change and On Getting Better.

The Anthony Hecht Lectures in the Humanities at Bard College were established in 2007 to honor the memory of this preeminent poet by reflecting his lifelong interest in literature, music, the visual arts, and our cultural history. Anthony Hecht graduated from Bard in 1944 and taught at the College from 1952–55 and 1962–66. Every two years a distinguished scholar delivers a series of lectures at Bard College and in New York City that addresses works close to Hecht’s own imagination and sympathies. Each lecture series is published by Yale University Press. Previous Hecht Lecture Series speakers include literary scholar and author Christopher Ricks; historian, critic, author, and broadcaster Simon Schama; renowned historian Garry Wills; classics scholar Mary Beard; literary critic and musicologist Daniel Albright; and artist and designer Maya Lin.

“It is a great honor that Anthony Hecht chose Bard as his home, both as a student and a faculty member, and we are delighted to recognize his extraordinary achievements through this important lecture series,” says Bard College President Leon Botstein.

Associate Professor of Environmental and Urban Studies M. Elias Dueker, Associate Professor of Biology Gabriel G. Perron, and Bard biology graduates Daniella Azulai ’17 and Mary Reid ’21 have copublished a new study, “Bacteria communities and water quality parameters in riverine water and sediments near wastewater discharges,” in the peer-reviewed journal Scientific Data. ​​Over five months, they monitored microbial contaminants relating to the treated water outflow of the wastewater treatment plant operated by Bard, which releases into the Saw Kill, a tributary of the Hudson River and also the source of fresh water for the campus. This is the first of many datasets and research papers that they hope to publish on Bard’s water system. Preliminary data analyses provide insight into the impacts of watershed-wide usage of the Saw Kill as both drinking water source and treated sewage receiver. Future use of this dataset will include a focus on endotoxins and antibiotic resistant bacterial genes, water contaminants only now gaining broader attention in water quality and microbiological sciences.

All of the sampling was conducted as a joint Bard Summer Research Institute project between Dueker’s lab and Perron's lab in summer 2015. Lab members included: Marco Spodek ’17, Beckett Lansbury ’16, Yuejiao Wan ’17, Pola Kuhn ’17, Haley Goss-Holmes ’17. Coauthors Azulai and Reid worked on this project both as undergraduate and post-baccalaureate students.

“This project demonstrates the power of community asking scientific questions, and academia–students, faculty, and staff–being able to help answer those questions through careful observational and applied research,” said Dueker. “Our hope is that this database serves as a tool for researchers and communities around the world trying to respond to stewardship challenges in a science-based and community-accessible way.”

The Chicago-based Floating Museum, an art collective codirected by Bard alumnus Jeremiah Hulsebos-Spofford ’07, will serve as the artistic team leading the fifth edition of the Chicago Architecture Biennial, or CAB 5. Titled This is a Rehearsal, CAB 5 “will build on and expand the collective’s ongoing work,” writes Matt Hickman for the Architect’s Newspaper. “Floating Museum is organized to work at the intersection of disciplines, where civic participation inspires and shapes our process. It’s both a thrill and challenge to collaborate with the CAB as the artistic team of the 2023 edition,” said the members of Floating Museum. With This is a Rehearsal, the collective hopes to showcase work that demonstrates the ways in which “contemporary environmental, political, and economic issues are shared across national boundaries but are addressed differently around the world through art, architecture, infrastructure, and civic participation.” CAB 5, This is a Rehearsal, is scheduled to open September 2023.

As the world watches the Zaporizhzhia nuclear power plant suffer “weeks of shelling,” the potential for “another nuclear disaster on the scale of the Chernobyl explosion” looms large, writes Bard alum C Mandler ’19 for CBS news. The similarities between Chernobyl and Zaporizhzhia are as much organizational as they are structural, says Jonathan Becker, executive vice president and vice president for academic affairs for Bard College. Both share “an environment… in which people are disincentivized from communicating genuine problems to higher-ups,” Becker says, which could result in a “series of mistakes, which are reinforced by a system which doesn't encourage transparent communication.” A nuclear disaster in Ukraine would be catastrophic on “both human and geopolitical” levels, Becker says. Should a nuclear disaster occur, “it will be difficult to imagine the path forward after that,” he said.

 

This month, New York Governor Kathy Hochul declared a state disaster emergency following evidence of the spread of poliovirus in wastewater. Nsikan Akpan ’06, who runs the health and science desk at WNYC/Gothamist, spoke with NPR’s Ayesha Rascoe to explain what this executive order means. “Health officials say the poliovirus that's in Long Island sewage right now—it's genetically linked to the paralytic case that was recorded in Rockland County earlier this summer, which was the first such case in nearly a decade in the United States,” says Akpan.

Countertenor Chuanyuan Liu, who graduated from the Bard Conservatory of Music’s Vocal Arts Program in 2021, has been named a grantee of the Met’s Education Fund. Education Fund grants are available to semifinalists, finalists, and Grand Finals winners of the Metropolitan Opera Eric and Dominique Laffont Competition, following an audition with the Met artistic staff. The grants are intended to support the development of these young artists and are made possible by the generosity of donors. Since the 2021 Laffont semifinals, Chuanyuan Liu has been involved in three world premiere projects: Pittsburgh Opera’s production of In a Grove, with music by Christopher Cerrone and libretto by Stephanie Fleischmann; Philadelphia Orchestra’s concert version of Kevin Puts and Greg Pierce’s The Hours; and Huang Ruo and David Henry Hwang's highly anticipated new opera M. Butterfly 蝴蝶君 at Santa Fe Opera. Liu has committed himself to an Asian-focused project each year stating, “as someone who grew up in China and spent all of my adulthood in the US, I have seen firsthand the differences but also the common ground. I want to use as much power as I have to build a bridge.”

LSA Family Health Service, a leading community nonprofit supporting thousands of low-income and immigrant families in East Harlem, announced that Jonah Gensler ’92 will lead the organization as its new chief executive officer (CEO). Gensler brings deep experience in nonprofit executive leadership, social services, and community engagement.

Profiled in the New York Times, the artist Martine Syms MFA ’17 “is the sort of ‘new media’ artist who antiquates the term. Since her days as a film programmer at clubs like the Echo Park Film Center in Los Angeles, she has turned the various lenses of media around to interrogate what society expects of Black women, and Black artists in particular,” writes Travis Diehl. This fall, Syms has an independent feature film showing in theaters with worldwide distribution, as well as exihibtions on view at the Philadelphia Museum of Art, Museum of Contemporary Art Chicago, and CCS Bard. "Grio College," the title of Syms’ retrospective show at CCS Bard’s Hessel Museum, is also the fictional school in Syms’s feature film The African Desperate (2022). “The curriculum that she presents is larger than what a college typically covers,” said Lauren Cornell, the chief curator at the Hessel. “It encompasses one’s whole life, friends, thinkers, culture.”

Martine Syms: Grio College, curated by Lauren Cornell, Chief Curator and Director of the Graduate Program, is on view at the CCS Bard Hessel Museum of Art through November 27, 2022.

Museum Collecting Lessons: Acquisition Stories from the Inside by Steven Miller ’70 is “the first book of its kind,” writes Antiques and the Arts Weekly. In a Q&A with the publication, Miller spoke about his curatorial career, the range of his acquisitions, and the role collectors play in furthering a museum’s mission. Miller hopes his book will demystify the acquisition process for readers. “I hope readers will understand that what they see in museums did not enter in some mysterious manner,” Miller says, but instead “have been acquired for public benefit with considerable thought.” Museum Collecting Lessons: Acquisition Stories from the Inside was published May 26, 2022.

As part of the 2022 Whitney Biennial, Nayland Blake ’82, “bearish, Merlin-bearded, soft-spoken in the manner of a blacksmith teaching kindergartners,” offers advice to artists as part of their performance series “Got an Art Problem?” Writing for the New Yorker, Hannah Seidlitz outlines Blake’s contributions to this year’s Biennial, including “Rear Entry” and “Gender Discard Party,” in which “guests were invited to ‘bring your own baggage’ and dance away the woes of classification.” With “Got an Art Problem?,” Blake schedules meetings with guests who are asked to “illustrate their art problems,” which Blake then talks through with the guest until their time is up. Offering advice to one guest, an artist who goes by Zaun whose work attempts “to visualize the living grid,” Blake asked a very simple question: “What is a game?” “A game is a system of rules that organize behavior,” Blake said. “What’s delightful is seeing somebody operate within those rules and yet do this unexpected thing.” 

Pete Mauney ’93 MFA ’00 says his photographs of fireflies can range from “a spa for the eyes” to “almost pure chaos.” For NPR, Lara Pellegrinelli spoke with Mauney, who has spent almost a decade photographing fireflies in the Hudson Valley, using Photoshop to painstakingly compile hundreds of timed exposures into a single image. The images, Pellegrinelli writes, are catching the eye of artists and scientists alike, sparking the interest of researchers pursuing “new evidence that firefly swarms can synchronize their flashes.” Mauney is now a part of a group of volunteers helping collect data for computer scientist and biophysicist Dr. Orit Peleg of the BioFrontiers Institute of the University of Colorado, Boulder. Still, for Mauney, the images, and the process of composing them, are the primary thing. “I never get tired of it,” Mauney says. “And I never get tired of the challenge and the puzzle of trying to construct the images — and trying to construct a good image, because it’s not enough for me to let the bugs do the heavy lifting.”

What’s the secret to Food and Wine’s best ice cream in New York State? Keeping it local, says Brian Ackley ’02 and Lisa Farjam ’00, owners of Fortunes, the award-winning ice cream shop in Tivoli, New York. Speaking with Chronogram, Ackley said: “We wanted to take advantage of not only the upstate dairy, but the upstate fruit, which has this really short moment, but when it comes it’s really amazing and very special.” Drawing from local sources, including Montgomery Place Orchards, clearly helps Fortunes stay in the news, but ultimately, for the two Bard alums, it’s always been about the local experience. “We just decided that Tivoli really needed an ice cream shop. So we started the shop four years ago and it’s just been going ever since,” Ackley says.

Asleep on the job? Dr. Sara Mednick ’95, Bard alumna and professor of cognitive science at the University of California, says that could be a good thing for productivity. Speaking with Discover magazine, Mednick shared insights into the cognitive benefits of naps, which “benefit everything that nighttime sleep helps, including emotional regulation, attention, alertness, motor function and memory.” The length and timing of a nap also impacts its effects on our well-being, with higher benefits from naps before 1 pm, leading many companies and universities to create “designated sleeping pods to allow students and employees to nap whenever they need to.” Building off of findings from a 2018 paper coauthored by Mednick, Discover outlines that while “the benefits of napping may vary across different individuals,” given their many cognitive benefits, it might be time to reconsider how naps fit into our personal and professional lives.

For her “lyrical and haunting” Senior Project, I Went Back to Sit in the Sun, Alice Fall ’22 won second place in Lenscratch’s 2022 Student Prize Awards. “In Alice Falls’s I Went Back to Sit in the Sun, images are alive, the still photographs aren’t still,” writes Alexa Dilworth. Fall will receive $750 as well as a mini exhibition on the Curated Fridge as part of the prize package. In an interview with Lenscratch, Fall described her process and artistic philosophy. “When I am in tune with my body and emotion and the way I physically respond to an image—whether I am making work or engaging with images I’ve already made, my vision is sharpest,” she said.