Bard’s extraordinary faculty are dedicated to the philosophy of teaching. Today and throughout Bard’s history, members of the faculty have effected change in medicine, the arts and letters, international affairs, journalism, scientific research, and education, among other endeavors. These distinguished scholars are advisers as well as instructors: Bard has no graduate teaching assistants. And the average class size of 16 in the Lower College and 12 in the Upper College allows for intimate discussions and one-on-one interaction.
David Bloom ’13 MM ’15. Photo by Bruce Kung
“What brought me to Bard, in a word, was the faculty.”
“To work with Joan Tower, George Tsontakis, and James Bagwell was an opportunity I couldn’t miss. I had long followed and admired their work, and then I found out that each of them taught here. It’s easy for musicians to focus only on music, whereas I wanted to have a broader education that would prepare me for a world that requires a more well-rounded base of knowledge and experience.”
—David Bloom ’13 MM ’15
—David Bloom ’13 MM ’15
Faculty News
The Orchestra Now Announces 2026-27 Season Featuring Concerts at Carnegie Hall, Manhattan’s El Museo Del Barrio and Bohemian National Hall, the Fisher Center At Bard, and Three Free Performances in New York City
The Orchestra Now (TŌN), the innovative orchestra and master’s degree program founded by Bard College, begins its 12th season on September 18, 2026, and continues through May 21, 2027.
The Orchestra Now Announces 2026-27 Season Featuring Concerts at Carnegie Hall, Manhattan’s El Museo Del Barrio and Bohemian National Hall, the Fisher Center At Bard, and Three Free Performances in New York City
The Orchestra Now (TŌN), the innovative orchestra and master’s degree program founded by Bard College and led by conductor, educator, and music historian Leon Botstein, begins its 12th season on September 18, 2026, and continues through May 21, 2027. Hailed for its fresh groupings of both well-known and seldom-heard repertoire, TŌN offers more than 20 performances this season, including two at Carnegie Hall; one Sight & Sound program at El Museo del Barrio and one at Bohemian National Hall; three free concerts in Manhattan at Symphony Space, the Julia Richman Educational Complex, and the Great Hall at Cooper Union; and several performances at the Orchestra’s home at Bard College’s Fisher Center.The 2026-27 season also unveils the Gernsheim Festival: Rediscovering a Master, a new multi-year project that seeks to restore the legacy of German composer Friedrich Gernsheim, whose works were largely buried by the Nazi regime in the 1930s. This season’s programs include two full orchestral concerts, two chamber concerts, and a panel discussion featuring notable music scholars and historians, presented at Bard College from September 18 - 20.
The Orchestra welcomes 24 new members this season, for a total of 64 musicians from 16 countries around the globe: Australia, Brazil, Canada, China, Colombia, Honduras, Hong Kong, Japan, Netherlands, Romania, South Africa, South Korea, Spain, Taiwan, the United Kingdom, and the United States.
Highlights of the 2026-27 season: Leon Botstein conducts two concerts at Carnegie Hall, including a program featuring Gershwin’s An American in Paris alongside seldom-heard works by Jewish composers who wrote during the Jazz Age. While the Metropolitan Museum of Art undergoes construction, the popular Sight & Sound series moves to new Manhattan locations with two programs investigating the ties between fine arts and music: one focuses on Music and Art in the Mexican Revolution, and a second on Czech Modernism. The Fisher Center series at Bard College offers nine programs, including two all-Brahms and Beethoven programs, and one by European composers whose work was influenced by the horrors of World War II. Of note are two special events at Bard: a screening of Raiders of the Lost Ark with a live performance of the film score, and a dance performance by members of the American Ballet Theatre Studio Company accompanied by TŌN. There are also three free concerts in Manhattan, led by TŌN resident conductor Zachary Schwartzman at Symphony Space and the Great Hall at Cooper Union; and by conductor Leonardo Pineda at the Julia Richman Educational Complex with NYC’s All-City High School Orchestra.
Broadcasts
This year marks the 10th season of TŌN’s popular broadcast series on WMHT-FM, the classical music radio station of New York’s Capital Region, and the 8th season on WWFM, the Classical Network station serving New Jersey and eastern Pennsylvania, both featuring programs from the Orchestra’s Fisher Center series. TŌN’s performances are also heard regularly on American Public Media’s Performance Today.
GERNSHEIM FESTIVAL: REDISCOVERING A MASTER
This fall, TŌN embarks on a multi-year project exploring the music of 19th-century German composer Friedrich Gernsheim. Once a leading figure of the European music scene, his legacy was all but erased by the Nazi regime in the 1930s, leaving his extensive body of work largely unheard today. TŌN seeks to help restore his legacy through a series of orchestra and chamber concerts featuring three U.S. premieres and one NY premiere, in addition to a panel discussion. The Festival is underwritten by E&V ProArte.
Epic Narratives: Gernsheim and Brahms
Friday & Saturday, September 18 & 19, 2026, at 7 pm
Fisher Center at Bard
The Orchestra Now
Leon Botstein, conductor
Orion Weiss, piano
Friedrich Gernsheim: Zu einem Drama, Op. 82
Friedrich Gernsheim: Symphony No. 3 in C minor, Op. 54 “Song of Miriam” (U.S. Premiere)
Johannes Brahms: Piano Concerto No. 1 in D minor, Op. 15
Gernsheim and Brahms were friendly contemporaries who championed each other’s music in performance. This concert celebrates some of their pivotal orchestral works: Gernsheim’s powerful tone poem Zu einem Drama and his dramatic third symphony, based on the legend of the Song of Miriam; alongside Brahms’s gigantic First Piano Concerto, written over a five-year period in the 1850s. The soloist is sought-after pianist Orion Weiss, who has performed with all of the major orchestras of North America. This concert will also be livestreamed on TŌNtube at ton.bard.edu/tontube.
Tickets, priced at $15 - $35, will be available August 7 at fishercenter.bard.edu, or by calling the Fisher Center box office at 845.758.7900.
The Life and Legacy of Friedrich Gernsheim: A Panel Discussion
Saturday, September 19, 2026, at 11 am
Bard’s Olin Hall
Enrique Lombrozo, Gernsheim scholar
Leon Botstein, TŌN Music Director
Peter Laki, Associate Professor of Music, and others to be announced
Bard’s music scholars and historians explore the life, career, and cultural legacy of German composer, conductor, and pianist Friedrich Gernsheim, whose works were largely suppressed by the Nazi regime owing to his Jewish heritage.
Tickets: Admission is free, advance RSVP is requested, available August 7 at fishercenter.bard.edu, or by calling the Fisher Center box office at 845.758.7900.
Gernsheim at the Piano: A Chamber Concert
Saturday, September 19, 2026, at 1 pm
Bard’s Olin Hall
The TŌN Chamber Players
Francis Chung-Yang Hang, TŌN pianist
Friedrich Gernsheim:
Piano Quartet No. 3 in F Major, Op. 47 (U.S. Premiere)
Piano Quintet No. 2 in B minor, Op. 63 (NY Premiere)
The TŌN Chamber Players and TŌN pianist Francis Chung-Yang Huang perform two works that composer Friedrich Gernsheim premiered himself in the late 1800s. Piano Quartet No. 3 is a lyrical work first heard in Bonn, Germany in 1883. The Second Piano Quintet was completed in 1896 and is at turns brooding and highly romantic.
Tickets: Admission is free, advance RSVP is requested, available August 7 at fishercenter.bard.edu, or by calling the Fisher Center box office at 845.758.7900.
The Romantic Arc: A Chamber Concert
Sunday, September 20, 2026, at 11 am
Bard’s Olin Hall
The TŌN Chamber Players
Friedrich Gernsheim:
String Quartet No. 2 in A minor, Op. 31
String Quintet No. 2 in E-flat Major, Op. 89 (U.S. Premiere)
This concert features the TŌN Chamber Players spotlighting two of Friedrich Gernsheim’s most Romantic chamber works for strings: the String Quartet No. 2, which displays some Brahmsian influence; and the lively String Quintet No. 2, one of the composer’s final works before his death in 1916.
Tickets: Admission is free, advance RSVP is requested, available August 7 at fishercenter.bard.edu, or by calling the Fisher Center box office at 845.758.7900.
CARNEGIE HALL SERIES, Stern Auditorium / Perelman Stage
Gershwin, Jazz, and the Music of Jewish Émigrés
Tuesday, November 17, 2026, at 7 pm
Leon Botstein, conductor
Mira Wang, violin
Louis Gruenberg: Jazz Suite, Op. 28
Ignatz Waghalter: Violin Concerto in A Major, Op. 15 (U.S. Premiere at Fisher Center, NYC premiere at Carnegie Hall)
Lazare Saminsky: Vigilae, Triad of Poems, Op. 4 (NY Premiere at Fisher Center, NYC premiere at Carnegie Hall)
Ernst Toch: Comedy for Orchestra in One Movement, Op. 42
George Gershwin: An American in Paris
This program compares the musical styles of five Jewish composers—many of whom were Eastern European émigrés to the U.S.—writing during the explosive rise of the Jazz Age in the early 20th century. Written pre-WWI, Ignatz Waghalter’s Violin Concerto exemplifies the European style before jazz took hold, while Lazare Saminsky, who was critical of the new musical form, gave us the mystical triad Vigiliae. The soloist is internationally acclaimed violinist Mira Wang, who is an Artist in Residence at the Bard Conservatory of Music. Composed at the height of the Roaring Twenties in Germany, Ernst Toch’s Comedy for Orchestra in One Movement incorporates a rhythmic pulse representing the impact jazz had on the European avant-garde. Louis Gruenberg’s 1925 Jazz Suite demonstrates the marriage of jazz with traditional classical form, which reached its pinnacle with George Gershwin’s An American in Paris, an American who captured the energy of Europe through a jazz-colored lens. This program will be recorded for a future release.
In the Shadow of Catastrophe
Friday, May 21, 2027, at 7 pm
Leon Botstein, conductor
Alexandra Knoll, oboe
Ernst Krenek: Symphonic Elegy, Op. 105
Arthur Honegger: Symphony No. 3, H. 186, “Liturgique”
Richard Strauss: Oboe Concerto in D Major, TrV 292
Karl Amadeus Hartmann: Symphonic Hymns
The horrors and aftermath of World War II had a profound impact on the European composers who lived through it. German composer Karl Amadeus Hartmann went so far as to bury his compositions in a tin box so they wouldn’t be discovered by the regime. His 1943 Symphonic Hymns was one of many pieces that were not uncovered and premiered until long after his death. Arthur Honegger chose to stay in France during the war, and portrayed the horrors of the conflict in his Third Symphony. Ernst Krenek’s Symphonic Elegy was written in memory of (and in the musical style of) his friend Anton Webern, who was accidentally killed by an American soldier shortly following the end of the war. Richard Strauss’s Oboe Concerto was originally suggested to him by another American soldier, an oboe player who visited him while stationed in Bavaria. The soloist is Alexandra Knoll, Associate Principal Oboist of the New York City Ballet Orchestra.
Tickets, priced at $25-$50, will be available starting in late August at carnegiehall.org, by calling 212.247.7800, or at the Carnegie Hall box office at 57th & 7th Avenue.
SIGHT & SOUND SERIES
TŌN’s popular music and visual art series, Sight & Sound, goes on the road to new locations this season while The Metropolitan Museum of Art is under construction. Each performance includes a discussion with conductor and music historian Leon Botstein, accompanied by on-screen images and live musical excerpts, followed by a full performance of the works.
Music and Art in the Mexican Revolution
Sunday, December 6, 2026, at 2 pm
El Museo del Barrio, 1230 Fifth Avenue at 104th Street
Leon Botstein, conductor
Manuel Ponce: Poema elegiac (NY Premiere)
Carlos Chávez: Energía
Silvestre Revueltas (arr. Erich Kleiber): Redes Suite
José Pablo Moncayo: Sinfonietta
The Mexican Revolution birthed a fiercely proud, independent national identity. The government funded massive public art projects, directly sparking the famous Mexican Muralist Movement led by Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco. This intense period of cultural nationalism also inspired the highly rhythmic, folklore-driven music of composers like Carlos Chávez, José Pablo Moncayo, Manuel Ponce, and Silvestre Revueltas later in the 1920s and 30s.
Tickets, priced at $15, will be available beginning in late August. Details available at ton.bard.edu.
Czech Modernism
Sunday, March 7, 2027, at 2 pm
Bohemian National Hall, 321 E 73rd Street
Leon Botstein, conductor
Josef Suk: Meditation on an Old Czech Hymn, "St Wenceslas," Op. 35a
Erwin Schulhoff: Concerto for String Quartet and Winds
Vítězslav Novák: Slovak Suite, Op. 32
Centered in Prague, the Czech Modernist movement flourished in the time between the world wars with an explosion of avant-garde creativity. Artists like Frantisek Kupka, Bohumil Kubista, and Toyen worked in abstraction, surrealism, and cubism, transitioning Central European art away from traditional representation. Meanwhile, composers including Vítězslav Novák, Erwin Schulhoff, and Josef Suk pushed the boundaries of traditional harmony, infusing Moravian folk music into their scores and creating rhythmic masterpieces.
Ticket details to be announced at ton.bard.edu.
THE FISHER CENTER SERIES AT BARD, Sosnoff Theater
The Orchestra Now performs nine different programs and 16 concerts at the Fisher Center at Bard College. Select performances will be livestreamed on TŌNtube at ton.bard.edu/tontube as indicated below.
Epic Narratives: Gernsheim and Brahms
Friday & Saturday, September 18 & 19, 2026, at 7 pm
Leon Botstein, conductor
Orion Weiss, piano
Friedrich Gernsheim: Zu einem Drama, Op. 82
Friedrich Gernsheim: Symphony No. 3 in C minor, Op. 54, “Song of Miriam” (U.S. Premiere)
Johannes Brahms: Piano Concerto No. 1 in D minor, Op. 15
This concert is part of the Gernsheim Festival: Rediscovering a Master; see description above.
This concert will be livestreamed on TŌNtube at ton.bard.edu/tontube.
The American Spirit
Saturday, October 17, 2026, at 7 pm
Kellen Gray, conductor
Melissa White, violin
Aaron Copland: Symphony No. 2, "Short Symphony"
Florence Price: Violin Concerto No. 1 in D Major
Montgomery: Hymn for Everyone
William Grant Still: Symphony No. 4, "Autochthonous"
TŌN welcomes guest conductor Kellen Gray, artistic director of the Lafayette Symphony Orchestra in Indiana, and violinist Melissa White, a first-prize laureate in the Sphinx Competition and a founding member of the Grammy-winning Harlem Quartet, for a concert highlighting the music of four celebrated American composers. Aaron Copland’s rhythmically intricate 1933 “Short Symphony” will be performed alongside two works by Black composers of the same generation. The Violin Concerto No. 1 by Florence Price dates to 1939, but was never performed in the composer’s lifetime. It was found in 2009 and premiered in 2018. William Grant Still’s Fourth Symphony, “Autochthonous”, imagines America as a place of ingenuity and inclusivity. Also on the program is the recent work Hymn for Everyone by Jessie Montgomery, Performance Today’s 2025 Classical Woman of the Year.
Gershwin, Jazz, and the Music of Jewish Émigrés: A Carnegie Hall Preview Concert
Saturday, November 14, 2026, at 7 pm
Sunday, November 15, 2026, at 2 pm
Leon Botstein, conductor
Mira Wang, violin
Louis Gruenberg: Jazz Suite, Op. 28
Ignatz Waghalter: Violin Concerto in A Major, Op. 15 (U.S. Premiere at Fisher Center, NYC premiere at Carnegie Hall)
Lazare Saminsky: Vigilae, Triad of Poems, Op. 4 (NY Premiere at Fisher Center, NYC premiere at Carnegie Hall)
Ernst Toch: Comedy for Orchestra in One Movement, Op. 42
Gershwin: An American in Paris
TŌN performs this program at Carnegie Hall on November 17; see description above.
This concert will be livestreamed on TŌNtube at ton.bard.edu/tontube.
Beethoven and Brahms: Part 1
Saturday, February 6, 2027, at 7 pm
Sunday, February 7, 2027, at 2 pm
Leon Botstein, conductor
Johannes Brahms: Symphony No. 4 in E minor, Op. 98
Ludwig van Beethoven: Symphony No. 3 in E-flat Major, Op. 55, “Eroica”
The first of TŌN’s two Beethoven & Brahms concerts offers both tragedy and triumph. Brahms’s bittersweet Fourth Symphony contrasts joyful and sorrowful moods throughout. In the final movement, he takes a chorale theme from J.S. Bach and builds 30 continuous variations, transforming the Baroque into the Romantic. Meanwhile, Beethoven’s Eroica moves through anguish and grief in its funeral march before a finale filled with a massive set of thematic variations that gradually layer in complexity before reaching a heroic climax. This concert will be livestreamed on TŌNtube at ton.bard.edu/tontube.
Beethoven and Brahms: Part 2
Saturday, April 10, 2027, at 7 pm
Sunday, April 11, 2027, at 2 pm
Leon Botstein, conductor
Johannes Brahms: Symphony No. 3 in F Major, Op. 90
Ludwig van Beethoven: Symphony No. 7 in A Major, Op. 92
The second of TŌN’s Beethoven & Brahms concerts pairs two symphonies of kinetic energy. Wagner called Beethoven’s Seventh Symphony “the apotheosis of the dance” for its relentless rhythms that give the listener a feeling of physical momentum. The outer movements of Brahms’s Third Symphony capture a similar energetic spirit. Upon hearing it for the first time, Clara Schumann wrote to the composer, “What a work! What a poem! What a harmonious mood pervades the whole!” This concert will be livestreamed on TŌNtube at ton.bard.edu/tontube.
Falletta Conducts Rachmaninoff
Saturday, May 1, 2027, at 7 pm
JoAnn Falletta, conductor
Bibi Nguyen, soprano
Samuel Barber: Knoxville: Summer of 1915, Op. 24
Joaquin Turina: Danzas fantásticas, Op. 22
Sergei Rachmaninoff: Symphony No. 3 in A minor, Op. 44
Multiple Grammy-winning conductor JoAnn Falletta, longtime music director of the Buffalo Philharmonic Orchestra, marks her fifth appearance with TŌN. She conducts Rachmaninoff’s Symphony No. 3, written over two summers at the composer’s Swiss villa nearly 30 years after his previous symphony. Also on the program are Barber’s nostalgic song Knoxville: Summer of 1915, which will be performed by Bibi Nguyen, a winner of the 2025 Bard Conservatory Concerto Competition; and Turina’s Danzas fantásticas, inspired by the novel La orgía (The Orgy) by José Más.
In the Shadow of Catastrophe: A Carnegie Hall Preview Concert
Saturday, May 15, 2027, at 7 pm
Sunday, May 16, 2027, at 2 pm
Leon Botstein, conductor
Alexandra Knoll, oboe
Ernst Krenek: Symphonic Elegy, Op. 105
Honegger: Symphony No. 3, H. 186 "Liturgique"
R. Strauss: Oboe Concerto in D Major, TrV 292
Karl Amadeus Hartmann: Symphonic Hymns
TŌN performs this program at Carnegie Hall on May 21; see description above.
This concert will be livestreamed on TŌNtube at ton.bard.edu/tontube.
Tickets for the Fisher Center Series at Bard, priced at $15 - $35, will be available starting in late August at fishercenter.bard.edu, or by calling the Fisher Center box office at 845.758.7900.
SPECIAL EVENTS AT THE FISHER CENTER AT BARD
Indiana Jones and the Raiders of the Lost Ark in Concert
Saturday, October 31, 2026, at 7 pm
Sunday, November 1, 2026, at 2 pm
James Bagwell, conductor
John Williams: Indiana Jones and the Raiders of the Lost Ark
John Williams’ Grammy Award-winning score performed live to the film
Celebrating the 45th anniversary of the 1981 film—originally released as a collaboration between George Lucas and Steven Spielberg—Raiders redefined the possibilities of adventure cinema and launched actor Harrison Ford to legendary status. Indiana Jones is the classic hero in this adventure set in the 1930s that follows the quick-witted archaeologist’s search for the Lost Ark of the Covenant. Often facing insurmountable odds, Indy always manages to succeed in the nick of time, joined by endearing companions and opposed by notorious villains.
With an impressive team of supporting actors including Karen Allen, John-Rhys Davies, Denholm Elliott, and Paul Freeman, combined with innovative special effects techniques by Industrial Light & Magic, Raiders has captured and inspired the spirits of movie-goers for generations.
Presentation licensed by Disney Concerts. All rights reserved.
Tickets, priced from $25 - $75, will be available starting in late August at fishercenter.bard.edu, or by calling the Fisher Center box office at 845.758.7900.
TŌN + ABT Studio Company
Saturday, February 27, 2027, at 7 pm
Sunday, February 28, 2027, at 3 pm
Charles Barker, conductor
American Ballet Theatre Studio Company
Program to be announced
Two of New York’s finest artistic training programs join forces once again as the dancers of American Ballet Theatre Studio Company return to the Fisher Center at Bard to perform with the graduate musicians of TŌN, presenting an exciting program of dance accompanied by full orchestra.
Tickets, priced from $25 - $95, will be available starting in late August at fishercenter.bard.edu, or by calling the Fisher Center box office at 845.758.7900.
FREE CONCERTS
Fate: Love and Death
Sunday, September 27, 2026, at 4 pm
Symphony Space, 2537 Broadway, New York, NY
Zachary Schwartzman, conductor
Verdi: La forza del destino Overture
Mahler: Totenfeier (Funeral Rite)
Wagner: Prelude and Liebestod from Tristan und Isolde, WWV 90
Tchaikovsky: Francesca da Rimini, Op. 32
TŌN and resident conductor Zachary Schwartzman continue their free concert series at Symphony Space with four symphonic tales of love and death. Three tales of doomed love from Verdi’s opera La forza del destino, Wagner’s opera Tristan und Isolde, and Tchaikovsky’s symphonic poem Francesca da Rimini will be performed alongside Mahler’s Funeral Rite, the first movement of his Second Symphony in which a man in his grave questions his life and what lies ahead.
TŌN + All-City High School Orchestra
Sunday, December 20, 2026, at 3 pm
Julia Richman Educational Complex, 317 E 67th Street
Leonardo Pineda, conductor
David West, principal director
Selections performed with the All-City High School Orchestra
Program to be announced
TŌN continues its partnership with the musicians of NYC’s All-City High School Orchestra for the third year in a row, performing side-by-side in a concert led by Leonardo Pineda, Venezuelan conductor, violinist, and Music Director of The Orchestra San Antonio.
Haydn and Stravinsky
Sunday, March 21, 2027, at 4 pm
The Great Hall at Cooper Union, 7 E 7th Street between 3rd and 4th Avenues
Zachary Schwartzman, conductor
Felix Mendelssohn: The Fair Melusine Overture, Op. 32
Joseph Haydn: Symphony No. 88 in G Major, H.I:88
Igor Stravinsky: Pulcinella Suite
Darius Milhaud: Le Boeuf sur le toit (The Ox on the Roof), Op. 58
TŌN and conductor Zachary Schwartzman return to the Great Hall at Cooper Union for the first time in nine years for a free afternoon concert of audience favorites. The program comprises Mendelssohn’s emotional Fair Melusine Overture, Haydn’s sparkling Symphony No. 88, and two ballet works that debuted in Paris in 1920: Stravinsky’s suite of highlights from Pulcinella and Milhaud’s lively The Ox on the Roof.
Tickets are free. Advance RSVP requested at ton.bard.edu, available starting in late August.
Post Date: 07-30-2026
Chronogram Covers Bard Community Science Lab’s New Hudson Valley Community Air Network
“We didn’t want community data to be controlled by private people or entities.”
Chronogram Covers Bard Community Science Lab’s New Hudson Valley Community Air Network
Hudson Valley Community Air Network, led by Bard College’s Community Sciences Lab at the Center for Environmental Sciences and Humanities, was featured by Chronogram magazine in an article about the ongoing efforts to track and trace pollution in the air of the Hudson Valley region. The article notes that for decades, the area’s environmental consciousness has been organized around water, whereas air was not tracked closely until initiatives led by Bard’s Center for Environmental Sciences and Humanities. The establishment of the Kingston Air Quality Initiative, and the Hudson Valley Air Quality Coalition in 2021, paved the way for this year’s efforts by Bard and Ulster County to install 17 new street-level sensors across the county. These newest sensors are strategically placed in public areas where people gather and learn, like libraries, town halls, and community centers, to collect data that can be accessed freely by the surrounding communities. “We didn’t want community data to be controlled by private people or entities,” says Desiree Lyle, program director of Bard College’s Center for Environmental Sciences and Humanities.The Center for Environmental Sciences and Humanities puts Bard’s dedication to the environment, science, and social change into practice to support the fair management of our shared natural resources. The center conducts quantitative research in the natural and social sciences, crafts communication, participates in policy making, and bridges academic inquiry with community needs. The data and insights collected through CESH related projects are applied directly back to communities, with the end goal of addressing and solving environmental problems in real time.
Post Date: 07-28-2026
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Jonathan Becker Explores an Unexpected Family Relationship to Banned Books in the Dublin Review of Books
Jonathan Becker Explores an Unexpected Family Relationship to Banned Books in the Dublin Review of Books
“For years I assumed that literature and politics occupied separate spheres in my uncle’s life,” Acting President Jonathan Becker writes. But in an essay for the Dublin Review of Books, Becker describes how he learned that his uncle Joseph Ronsley, then a graduate student at Northwestern University, brought a lawsuit against officials in Lake County, Illinois who were trying to ban the novel Tropic of Cancer. The ACLU filed suit on behalf of consumers and their right to read; as Ronsley put it at the time, “I don’t think these men should have the right to tell me what I can read and what I cannot read.”Jonathan Becker, acting president of Bard College. Photo by Rachel L. Crittenden
The case was ultimately successful, preventing officials from banning books based on obscenity without following correct legal procedures, and mirrored a later Supreme Court decision that raised the bar for what constitutes obscenity in fiction. Ronsley’s case shows “even those who embrace a more traditional approach to the written word can be political and impactful,” Becker writes.
Post Date: 07-27-2026
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Bard College Announces New Tuition-Free Language and Thinking Program in Kyiv with Support from Nova Ukraine and Ukraine Global Scholars
Bard College Announces New Tuition-Free Language and Thinking Program in Kyiv with Support from Nova Ukraine and Ukraine Global Scholars
Bard College is launching Language and Thinking (L&T) Kyiv, a tuition-free three-week program for Ukrainian high school students, July 27–August 15, 2026. L&T is Bard’s signature program that involves deep engagement with texts and an exploration of the iterative process between writing and thought. It is a core part of the curriculum at Bard College campuses across the United States and the globe and has been at the heart of Bard’s promotion of liberal arts and sciences education. Extending this work to Kyiv, L&T Kyiv focuses on expanding equitable access to rigorous education, strengthening pathways into Ukrainian higher education, and introducing innovative teaching methodologies into Ukrainian schools.Bard undergraduate Yana Lahoda ’27, founder of L&T Kyiv.
The summer program is funded by Nova Ukraine. Additional financial support comes from Ukraine Global Scholars. L&T Kyiv is run in collaboration with Kyiv School of Economics (KSE), which is hosting the program, and Ukrainian Leadership Academy (ULA), which is providing housing for those students who join L&T Kyiv from areas across Ukraine, many of whom have come to the program from frontline regions.
The inaugural cohort of 35 students represents communities from Kyiv, as well as frontline and rural regions, including Sofiivska Borschahivka, Kramatorsk, Kharkiv, Sumy, Irpin, Borodianka, Lviv, Vinnytsia, Radyvyliv, Uzhhorod, Ternopil, Cherkasy, Kropyvnytskyi, Berdychiv, and more.
“We believe that the Language and Thinking program in Kyiv will provide an outstanding educational opportunity for young, talented Ukrainian students who will benefit from the opportunity to delve into time-honored texts to help them find their voices at this critical moment in their lives. We are extremely thankful to the Kyiv School of Economics for hosting us and proud that a Bard student, Yana Lahoda, has taken the lead in organizing this transformative educational experience in her homeland, following a great tradition of student civic leaders at Bard,” said Bard Acting President Jonathan Becker, who will also deliver the Commencement Address for the Kyiv School of Economics.
L&T Kyiv was founded by Bard undergraduate Yana Lahoda ’27, through the Trustee Leader Scholar program, which supports students who design and run civic engagement projects based on their own compelling interests. Before attending Bard, Lahoda received support to attend high school in the US from Ukraine Global Scholars, a nonprofit that helps Ukrainian students from modest backgrounds apply to top boarding schools and universities for full scholarships with a commitment to return to Ukraine to contribute knowledge gained during their studies. Since 2024, Lahoda co-led the English Program and Juniors program at UGS and focused on international project coordination with the International Cooperation Team for Ukraine’s Deputy Minister of Defense.
Lahoda notes that, “As a student myself, I will always be grateful for my time on the Annandale campus, and for many hours learning from my advisors who made this program possible and challenged me in the best way. I remain amazed at the commitment of my college to support its students to such a strong extent and will continue to remember moments of difficulties and unanswered questions as the greatest drivers of curiosity.”
The L&T Kyiv seminars, taught by the Bard’s Institute for Writing and Thinking faculty members Philip Pardi and Liliana Tymchenko, are built around an integral anthology titled “Justice” that brings together readings by Lesia Ukrainka, Václav Havel, Martin Luther King Jr., and others to facilitate discussion on freedom, responsibility, and dignity.
Over the past several decades, Bard College has adapted its distinctive approach to teaching and learning through Bard Early Colleges embedded in public high schools, microcolleges, the Bard Prison Initiative, and partnerships with educational institutions around the world. In 2022, Bard launched a sanctuary program for students from Ukraine who had lost access to higher education due to displacement or whose institutions had been forced to close. Currently, 29 Ukrainian sanctuary students attend Bard.
For Bard College and its Ukrainian partners, this program represents a long‑term commitment to work side by side with Ukrainian educators to narrow rural and urban gaps in opportunities, expand access to liberal arts and sciences learning, and cultivate inquiry, reflection, and civic engagement. The program is focused on three key goals: increasing access for students from rural and frontline regions as well as students with subsistence‑level income; strengthening Ukrainian educational frameworks; and facilitating global opportunities for Ukrainian students with an orientation to return home.
Every year, Bard’s distinctive Language and Thinking Program is taught in over 20 Bard sites around the world. By participating in Language and Thinking Kyiv, young people in Ukraine join Bard students around the world in intellectual engagement with questions rooted in our shared humanity, as well as challenges that bring together the academic and the civic. When the inaugural session concludes in August, Bard’s goal is that L&T Kyiv students will leave with robust writing portfolios, experience in seminar-based learning, stronger analytical reading and writing skills, increased confidence participating in scholarly discussion, and an understanding of how writing can serve as a tool for inquiry across disciplines. These outcomes will help inform future adaptations of L&T in Ukraine and contribute to Bard’s ongoing efforts to broaden access to transformative liberal arts and sciences education around the world.
To learn more about L&T Kyiv, please visit bardltkyiv.org.
Post Date: 07-23-2026
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Bard College MBA in Sustainability Receives Top Rankings
Bard College MBA in Sustainability Receives Top Rankings
In recent weeks, Bard’s MBA in Sustainability has received recognition by several prominent ranking and ratings systems. The program has, for the sixth consecutive year, been named the #1 Green MBA by The Princeton Review in the publication’s 2027 business school rankings, and has also earned #1 MBA for Nonprofits ranking by the Review for the third consecutive year, placing Bard ahead of institutions including Yale, Harvard, Stanford, Cornell, Columbia, Berkeley, and Northwestern. Additionally, CEO awarded Bard an AAA rating in its Green MBA Index, which assesses how thoroughly sustainability is integrated into an MBA program’s curriculum, hands-on learning opportunities, research, institutional strategy, and graduate outcomes.Photo by Rachel L. Crittenden
Unlike many business school rankings, The Princeton Review evaluations are based on student experience, and the top Green MBA ranking reflects how well students believe their MBA prepares them to address environmental, sustainability, and social responsibility issues throughout their careers. The top MBA for Nonprofits ranking recognizes programs that prepare graduates for mission-driven leadership.
“As sustainability becomes increasingly central to business success, organizations need leaders who can connect financial performance with environmental and social outcomes,” said Dr. Eban Goodstein, director of the Bard MBA in Sustainability. “That's exactly what our students learn to do.”
Rather than offering sustainability as an elective or concentration, Bard’s MBA in Sustainability weaves it throughout the curriculum. Every course—from finance and accounting to marketing, operations, leadership, and strategy—helps students understand how business decisions create both financial and environmental outcomes.
Post Date: 07-22-2026
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Professor Daniel Mendelsohn Reflects On The Odyssey in Several Publications
Professor Daniel Mendelsohn Reflects On The Odyssey in Several Publications
Charles Ranlett Flint Professor of Humanities Daniel Mendelsohn, who published a translation of Homer’s epic poem The Odyssey in 2025, was interviewed by Fareed Zakaria of CNN about the lasting impact of The Odyssey on the occasion of Christopher Nolan’s new movie adapting the poem. He also wrote two opinion pieces about the movie, one for the New York Review of Books about Nolan’s interpretation of Homer’s narrative, and one for the New York Times refuting the idea that the movie is historically inaccurate because of its casting. “[Nolan] is using Helen just as the Greek authors did: to provoke, challenge and discomfit how we think about beauty and identity, about who we are and how we relate to our world,” he writes for the New York Times. Speaking to Zakaria, Mendelsohn said, “Of the two Homeric poems, The Odyssey is the one we can’t let go of. It’s a story that continues to speak to the way we live. [It’s] a modern dilemma: how do you balance home and adventure?”Daniel Mendelsohn, Charles Ranlett Flint Professor of Humanities.
Bard’s Classical Studies Program seeks to understand the languages, literatures, histories, and visual and material cultures of the premodern Mediterranean world. The program approaches these ancient societies from a variety of disciplinary perspectives, including linguistics, art history, archaeology, anthropology, and philosophy, while also considering the long and complex legacies of ancient Greece and Rome in art, language, politics, and culture from antiquity to the present day.
Watch the CNN Interview Read in the New York Times Read in the NYRB
Post Date: 07-22-2026
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Kenneth Stern Interviewed About Australia’s Definition of Antisemitism
Kenneth Stern Interviewed About Australia’s Definition of Antisemitism
Kenneth Stern, director of the Bard Center for the Study of Hate and lead drafter of the International Holocaust Remembrance Alliance’s working definition of antisemitism, was interviewed about the weaponization of that definition in contemporary life. Stern spoke to SBS News on their “News in Depth” podcast, discussing the definition’s usefulness for identifying discrimination as well as what he sees as its misuse “[to] regulate speech or shut down debate on university campuses.” Stern says that trying to control antisemitism by controlling speech actually exacerbates it. “[Students] should be able to have a wide lens for looking at the world around them. And you can’t do that when you restrict speech.”Kenneth S. Stern ’75, director of the Bard Center for the Study of Hate.
The Bard Center for the Study of Hate works to increase the serious study of human hatred, and ways to combat it. The Center is a program of Bard’s Human Rights Project, and brings scholars from diverse disciplines to Bard to speak about the human capacity to hate and demonize others. The Center also places, mentors, and supports students working at internships with nongovernmental organizations that combat hate.
Post Date: 07-22-2026
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Bard Scholar Julianne Swartz MFA ’03 Awarded Grant from Bobby Anspach Foundation
Bard Scholar Julianne Swartz MFA ’03 Awarded Grant from Bobby Anspach Foundation
Julianne Swartz MFA ’03, associate professor and codirector of the studio arts program at Bard College, has been awarded a $50,000 grant from the Bobby Anspach Foundation, an organization created to support artists, scientists, and researchers whose work advances dialogue on meditation, psychology, creativity, and collective engagement as pathways to global harmony and health. Swartz, whose work focuses on multisensory installations, was one of two artists chosen from over 3,300 applicants for the inaugural flagship grant.Julianne Swartz MFA ’03, associate professor and codirector of the studio arts program.
The grant will support Swartz’s project, Heart Flow Instrument, a large-scale contemplative environment in the form of a deconstructed fountain that functions as a body in itself, where water, sound, light, and human presence circulate through interconnected vessels. Each visitor becomes a component of that body, contributing vital rhythms to a shared sensory field. As visitors engage with sensors, their cardiac and neural rhythms radiate through the installation, affecting the sonic and haptic environment others inhabit.
“This generous funding will allow me to experiment with biomedical sensors to explore new thresholds of interactivity using human biorhythms to shape sound and light,” said Swartz.
The Bobby Anspach Foundation was established to carry forward the vision of artist Bobby Anspach, through the belief that art holds the power to fundamentally transform how we understand ourselves and each other. This year's flagship grants support artists whose work uses immersive technology and sensory experience to open new pathways into consciousness, empathy, and collective transformation. Throughout 2026, the foundation will spotlight the work of all grant recipients across its platforms and through foundation programming such as events, conversations, and gatherings designed to share this research across disciplines and introduce the grant recipients to new audiences.
Post Date: 07-17-2026