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Professor Shore’s work has been widely published and exhibited for the past 45 years. He was the first living photographer to have a one-man show at the Metropolitan Museum of Art in New York since Alfred Stieglitz, 40 years earlier. He has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts. More than 25 books have been published of Professor Shore’s photographs. Since 1982 he has been the director of the Photography Program at Bard, where he is the Susan Weber Professor in the Arts.
Dinaw Mengestu, director of Bard’s Written Arts Program. Presented by Bard Literature Professor Bradford Morrow’s Innovative Contemporary Fiction Reading Series and Bard’s Written Arts Program, the reading takes place at 6:30 p.m. in the Reem-Kayden Center Laszlo Z. Bito ’60 Auditorium. It is free and open to the public; no reservations are required. Books by Peter Orner will be available for sale, courtesy of Oblong Books & Music. For more information about the Innovative Contemporary Fiction Reading Series, call 845-758-7054, email email@example.com, or visit conjunctions.com.
After earning diplomas from the Bard Prison Initiative, these alumni are using their skills to forge new paths.In 2015 the story of the Bard Prison Initiative Debate Union’s win over Harvard became a global news story. Leslie Brody of the Wall Street Journal, who was there for the debate, first broke the story. Now, four years later, Brody reunited with the BPI alumni who were on the debate stage that evening to find out what has happened to each of them since. The debate was also captured by camera crews filming for the upcoming documentary series College Behind Bars, which is coming out on PBS in November.
The Bard Conservatory Graduate Vocal Arts Program presents Stephanie Blythe in “Sing, Bard!” a cabaret-style musical journey of song, from opera to popular standards, on Saturday, November 9, at 8 p.m. Tickets are $25–$150; the $150 premium level ticket includes an intimate reception and more songs with the artists. To reserve tickets go to fishercenter.bard.edu or call the box office at 845-758-7900.
Mezzo-soprano Blythe, director of the Bard College Conservatory of Music Graduate Vocal Arts Program (VAP) and winner of The Dallas Opera’s 2019 Maria Callas Award, performs this lively evening of song accompanied by Craig Terry, pianist and musical arranger, and soloists from the Vocal Arts Program.
“It is a thrill to share songs that mean so much to so many with the members of the VAP and our audience here at Bard, my new musical and creative home,” says Blythe. “Every day that I spend at this wonderful Conservatory is a blessing—this concert is a way to thank Bard and its audience for their spirit of generosity.”
The program includes popular songs such as “Tale of the Oyster” (1929) Cole Porter; “The Man That Got Away” (1953) Harold Arlen/Ira Gershwin; “With A Song In My Heart” (1929) Richard Rodgers/Lorenz Hart; “If You Don’t Want My Peaches” (1914) Irving Berlin; “I Think It’s Gonna Rain Today” (1968) Randy Newman; and more.
To reserve tickets go to fishercenter.bard.edu or call the box office at 845-758-7900.
Composer of the Year. “Trained in an era when academic modernism reigned, she developed from a composer of intensely wrought chamber works into a creator of dramatic orchestral music that can only be described as, well, towering,” writes Musical America. The award will be presented at the 59th Annual Musical America Awards ceremony at Carnegie Hall in December.
Tower is widely regarded as one of the most important American composers living today. During a career spanning more than fifty years, she has made lasting contributions to musical life in the United States as composer, performer, conductor, and educator.
She was also recently awarded Chamber Music of America’s Richard J. Bogomolny National Service Award, which recognizes an individual or entity that has made a significant contribution to the ensemble music field on a national level and spanning an entire career. Earlier this year the League of American Orchestras presented Tower with its highest honor, the Gold Baton, at the league’s 74th national conference.
“It has been quite the year for me—three huge awards from the music industry. At 81, its very welcomed!” says Tower. “I’ve also been invited to be inducted into the Classical Music Hall of Fame, and to archive all my works at the Library of Congress, so it’s been a very momentous year.”
Tower has been commissioned by the New York Philharmonic for a new work to debut in a future season.
She is currently Asher Edelman Professor of Music at Bard College, where she has taught since 1972.
About the Artist
Joan Tower is widely regarded as one of the most important American composers living today. During a career spanning more than fifty years, she has made lasting contributions to musical life in the United States as composer, performer, conductor, and educator. Her works have been commissioned by major ensembles, soloists, and orchestras, including the Emerson, Tokyo, and Muir quartets; soloists Evelyn Glennie, Carol Wincenc, David Shifrin, Paul Neubauer, and John Browning; and the orchestras of Chicago, New York, St. Louis, Pittsburgh, Baltimore, Nashville, Albany NY, and Washington DC among others. In 2019 the League of American Orchestras awarded her its highest honor, the Gold Baton, at the League's 74th national conference. Tower is the first composer chosen for a Ford Made in America consortium commission of sixty-five orchestras. Leonard Slatkin and the Nashville Symphony recorded Made in America in 2008 (along with Tambor and Concerto for Orchestra).
The album collected three Grammy awards: Best Contemporary Classical Composition, Best Classical Album, and Best Orchestral Performance. Nashville’s latest all-Tower recording includes Stroke, which received a 2016 Grammy nomination for Best Contemporary Classical Composition. In 1990 she became the first woman to win the prestigious Grawemeyer Award for Silver Ladders, a piece she wrote for the St. Louis Symphony where she was Composer-in-Residence from 1985-88. Other residencies with orchestras include a 10-year residency with the Orchestra of St. Luke’s (1997-2007) and the Pittsburgh Symphony (2010-11). She was the Albany Symphony’s Mentor Composer partner in the 2013-14 season. Tower was cofounder and pianist for the Naumburg Award winning Da Capo Chamber Players from 1970-85. She has received honorary doctorates from Smith College, the New England Conservatory, and Illinois State University. She is Asher Edelman Professor of Music at Bard College, where she has taught since 1972.
New Faculty Chairs and Distinguished Professorships include Susan Aberth in Art History, Valeria Luiselli in Written Arts, Kelly Reichardt in Film and Electronic Arts, and An-My Lê in Photography
Bard College has appointed four new chairs and distinguished professorships across disciplines this fall. In the Division of the Arts’ Art History and Visual Culture Program, Susan Aberth has been named Edith C. Blum Professor of Art History. This chair was formerly held by Jean French. In the Division of Languages and Literature’s Written Arts Program, Valeria Luiselli has been named Sadie Samuelson Levy Professor in Languages and Literature. In the Division of the Arts’ Film and Electronic Arts Program, Kelly Reichardt has been named S. William Senfeld Artist in Residence. In the Division of the Arts’ Photography Program, An-My Lê has been named Charles Franklin Kellogg and Grace E. Ramsey Kellogg Professor in the Arts. This chair was formerly held by Peter Hutton.
Susan Aberth is an art historian whose area of specialization is surrealism in Latin America. Aberth’s teaching interests focus on Latin American art, African art, Islamic art, and other religious art and practices. Additional interests include African religious practices in the Americas, and the art and iconography of Freemasonry, Spiritualism, and the occult. In addition to her 2004 book Leonora Carrington: Surrealism, Alchemy and Art (Lund Humphries), she has contributed to Seeking the Marvelous: Ithell Colquhoun, British Women and Surrealism (Fulgur Press, 2020), Agnes Pelton: Desert Transcendentalist (Phoenix Art Museum, 2019), Surrealism, Occultism and Politics: In Search of the Marvelous (Routledge Press, 2018), Leonora Carrington: Cuentos mágicos (Museo de Arte Moderno & INBA, Mexico City, 2018), Unpacking: The Marciano Collection (Delmonico Books, Prestel, 2017), and Leonora Carrington and the International Avant-Garde (Manchester University Press, 2017), as well as to Abraxas: International Journal of Esoteric Studies, Black Mirror, and the Journal of Surrealism of the Americas. She received her BA from the University of California, Los Angeles; MA from the Institute of Fine Arts, New York University; and PhD from The Graduate Center, City University of New York. Aberth has been at Bard since 2000.
Valeria Luiselli is an award-winning writer of fiction and nonfiction whose books are forthcoming and/or published in more than 20 languages. A 2019 recipient of a MacArthur Fellowship, she is the author of the novels Lost Children Archive (2019); The Story of My Teeth (2015), named Best Book in Fiction by the Los Angeles Times and one of the best books of the year by the New York Times, and was a National Book Critics Circle finalist; and Faces in the Crowd (2014), for which she received a National Book Foundation “5 under 35” prize, among other honors. Tell Me How It Ends: An Essay in 40 Question, a nonfiction work published in 2017, won the American Book Award and was a National Book Critics Circle and Kirkus Prize finalist. Other nonfiction publications include “Maps of Harlem,” in Where You Are; and Sidewalks, a collection of essays that was named one of the 10 best books of 2014 by New York. Recent journal, newspaper, and radio work has appeared in the New York Times (“The Littlest Don Quixotes versus the World”), Guardian (“Frida Kahlo and the Birth of Fridolatry”), Outlook Interview Series, BBC World Services (“Undocumented Central American Minors”), Harper’s Trump special (“Terrorist and Alien”), and NPR’s This American Life (“The Questionnaire”), among others. Honors also include an Art for Justice Fellowship (2018–19) and residencies at Under the Volcano, USA-Mexico; Poets House, New York City; and Castello di Fosdinovo, Italy. She previously taught at Hofstra University, City College, the New York University MFA Writing Program in Paris, and Columbia University’s MFA Writing Program. Luiselli founded the Teenage Immigrant Integration Association at Hofstra in 2015, a program that offers continuous support to immigrant and refugee teens through one-on-one English classes, soccer games, and civil rights education. She is a member of PEN America and the Association of Writers and Writing Programs. She received her BA from UNAM in Mexico, and her MA and PhD from Columbia University. She has been at Bard since 2019.
Kelly Reichardt is a filmmaker whose latest film, Certain Women—starring Laura Dern, Michelle Williams, Kristen Stewart, and Lily Gladstone—premiered in 2016 at the Sundance Film Festival and won the top award at the London Film Festival. Her other films include: Night Moves (2013), Meek’s Cutoff (2010), Wendy and Lucy (2008), Old Joy (2006), and River of Grass (1994). Her film First Cow is currently in postproduction. Reichardt has received the United States Artists Fellowship, Guggenheim Fellowship, Anonymous Was a Woman Award, and Renew Media Fellowship. Her work has been screened at the Whitney Biennial (2012), Film Forum, Cannes Film Festival in “un certain regard,” Venice International Film Festival, Sundance Film Festival, Berlin International Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, and BFI London Film Festival. She has had retrospectives at the Anthology Film Archives, Pacific Film Archive, Museum of the Moving Image, Walker Art Center, and American Cinematheque Los Angeles. Reichardt received her BFA from the School of the Museum of Fine Arts, Tufts University. She has taught at Bard College since 2006.
An-My Lê is a photographer who was born in Saigon, Vietnam, in 1960, but left that country during the final year of the war in 1975 and subsequently found a home as a political refugee in the United States. She received an MFA from Yale University in 1993. Her film and photography examine the effects and representation of war and have included the documentation of (and participation in) Vietnam War reenactments in South Carolina. She has received fellowships from the MacArthur Foundation, Guggenheim Memorial Foundation, and New York Foundation for the Arts, and has had exhibitions at the Museum of Modern Art, the International Center of Photography, and MoMA PS1. An-My has been teaching at Bard since 1999.
The Bard College Conservatory Orchestra performs a concert at the Fisher Center at Bard’s Sosnoff Theater on Saturday, October 26 at 8 p.m. Conducted by Leon Botstein, music director, the Conservatory Orchestra performs Charles Ives “The Fourth of July” from Holiday Symphony; Sibelius Symphony 7 in C major, Op. 105; Honegger Symphony 3 “Liturgique”; and Tchaikovsky Romeo and Juliet Fantasy-Overture (1880). All ticket sales benefit the Conservatory Scholarship Fund. Tickets are $15-20 suggested donation. To reserve tickets, go to fishercenter.bard.edu or call the box office at 845-758-7900.
Upcoming Conservatory Programs:
The Bard Conservatory Graduate Vocal Arts Program Presents:
Stephanie Blythe in “Sing, Bard!”
A cabaret style musical journey of song, from opera to popular standards
Saturday, November 9 at 8 p.m.
James Bagwell, Guest Conductor
Saturday, December 7 at 8 p.m.
Jackson Spargur Polaris world premiere
Florence Price Symphony No.1 in E minor
Aaron Copland Billy the Kid, ballet
James Bagwell, Conductor
Sunday, December 15 at 3 p.m.
With the Bard Conservatory Orchestra, members of the Bard Conservatory Graduate Vocal Arts Program, Bard College Symphonic Chorus, Bard College Chamber Singers, and Bard Preparatory Chorus.
Recognized as one of the finest conservatories in the United States, The Bard College Conservatory of Music, founded in 2005, is guided by the principle that young musicians should be broadly educated in the liberal arts and sciences to achieve their greatest potential. All undergraduates complete two degrees over a five-year period: a bachelor of music and a bachelor of arts in a field other than music. The Conservatory Orchestra has performed twice at Lincoln Center, and has completed three international concert tours: in June 2012 to China, Hong Kong, and Taiwan; in June 2014 to Russia and six cities in Central and Eastern Europe; and in June 2016, to three cities in Cuba.
Participating Artists Include Basel Abbas and Ruanne Abou-Rahme with Tashweesh, Mirna Bamieh/Palestine Hosting Society, Ali Chahrour, Rudi Goblen, Emily Jacir, Tania El Khoury, Jason de León, and Emilio Rojas
Live Arts Bard (LAB), the residency and commissioning program of the Fisher Center at Bard, announces Where No Wall Remains, the third edition of the acclaimed LAB Biennial, temporarily reconfiguring the Fisher Center as a site for innovative and interactive performances and installations (November 21-24). Co-curated by Lebanese live artist Tania El Khoury, a 2019 Soros Art Fellow, and Gideon Lester, the Fisher Center’s Artistic Director for Theater and Dance, this four-day festival considers the subject of borders: political borders, physical borders, historical and contemporary borders, borders seen and unseen, the borders of the body, borders between art forms, between performers and spectators, the borders that divide or define us, borders to be crossed, tested, resisted, destroyed, rebuilt, or transcended. Where No Wall Remains follows The House is Open (2014), which explored the relationship between visual and performing arts, and We’re Watching (2017), which examined contemporary states of surveillance. This third edition of the festival features nine new performances and installations by contemporary artists from the Middle East and Central America, commissioned by Live Arts Bard. Please see below for dates and times for each work.
As curators Tania El Khoury and Gideon Lester describe, “We started planning [this edition of the festival] January 2017, in the week that the Trump administration’s ‘Muslim ban’ came into effect, accompanied by increasingly xenophobic rhetoric and the specter of a wall along the US/Mexico line. It was inevitable that the current edition would focus on the subject of borders… The recent near-elimination of the American immigration program, together with an increase of human rights violations on the Mexican border, have made the subject of the festival even more grimly present than we could have imagined in 2017. Current US immigration policy has particularly affected people from the Middle East and Central America, and we therefore invited artists from those regions to join us in creating the festival.”
November 2019, the month of the festival, marks the 30th anniversary of the fall of the Berlin Wall. One of the most significant and celebrated events of the 20th century, at the time it seemed to promise a future of open borders and unification. Three decades later, the heady dreams of 1989 are very far from us; walls are being built up, not torn down. The title Where No Wall Remains, taken from a love poem by Rumi, is an invitation to imagine a utopian state of being—a fully unbordered world.
The festival is sited throughout the Fisher Center and beyond it, at the Bard Farm and in the nearby village of Tivoli, NY. The political potential of each work evokes many ideas and representations of borders: Emily Jacir’s letter to a friend, Rudi Goblen’s FITO, and Tania El Khoury’s Cultural Exchange Rate re-center the political debate around the personal, presenting autobiographical, familial, and neighborhood accounts of border crossing and navigating broader systems of oppression; Ali Chahrour’s Night brings the audience to the most intimate site of alienation, the human body, reminding us that love stories are also stories of borders and how we transcend them.
The entire program responds to the urgency of our political climates, not by merely advancing critique, but by also producing knowledge. Works such as Jason de León’s Hostile Terrain 94 (HT94), Mirna Bamieh/Palestine Hosting Society’s Menu of Dis/appearance, Emilio Rojas’ m(Other)s: Hudson Valley, and At those terrifying frontiers where the existence and disappearance of people fade into each other (part 2) (a site-specific video and sound installation by Basel Abbas and Ruanne Abou-Rahme with a performance by Tashweesh) engage dispossessed bodies, erased cultures, and forgotten artifacts. Rojas’ Naturalized Borders (to Gloria) redraws the Mexico-US border as an imagined line by communities who have historically asserted the intersection between labor rights, land sovereignty, and migration. We are reminded of the everyday price many people pay for borders: the marginalization of indigenous communities, the uncounted and unrecorded deaths at border zones, and the erasure of entire life worlds. The festival’s cover image, Samar Hazboun’s photograph of the wall in her town of Bethlehem, represents a global community of artists who refuse to be imprisoned by racism or cement.
The festival is the culmination of a two-year partnership with many programs at Bard (including Middle Eastern Studies, Latin American and Iberian Studies, Experimental Humanities, and the Human Rights Project), which have included undergraduate courses, public programs, and artist residencies.
The curators write, “We acknowledge the vast production that came before this program by artists and activists who are most affected by discriminatory border politics. We pay homage to them and hope to build on the ongoing discussion and mobilization on borders with this timely and inspiring body of work.”
The themes and artists of Where No Wall Remains are further explored in the digital realm via the festival blog (nowall.bard.edu), which includes a syllabus, interviews with the artists, digital resources, and more.
Where No Wall Remains will take place at the Fisher Center over four days, Thursday, November 21-Sunday, November 24, 2019. Admission to several events and installations is free; tickets prices for paid events are listed below, and are now available for sale. All tickets can be purchased at to fishercenter.bard.edu or 845.758.7900. The Fisher Center at Bard Arts is located at 60 Manor Avenue, Annandale-On-Hudson, NY, 12504. A round-trip coach from New York City will be available on November 24.
Where No Wall Remains – Schedule of Events
Basel Abbas and Ruanne Abou-Rahme with Tashweesh
At those terrifying frontiers where the existence and disappearance of people fade into each other (part 2)
LAB Commission / World Premiere
Installation: November 21, 6-9pm; November 22, 7:30-9pm; November 23, 1-4pm, 5:30-7:30pm; November 24, 3-6pm
Performances: November 22, 6:30pm; November 23, 4:30pm and 8pm; November 24, 2pm & 6:30pm
Resnick Studio, Fisher Center
At those terrifying frontiers where the existence and disappearance of people fade into each other (part 2) brings together a site-specific video and sound installation by Palestinian-American artists Basel Abbas and Ruanne Abou-Rahme and a new performance by Tashweesh, an improvised constellation that brings the artists together with musician/performer Muqata’a. Combining their different practices in a joint performance, using sound, music, and images, the result is an exploration of the collision between returns, erasure, and disruption.
From the returns of the land and stubborn vegetation that does not die, to artifacts that are reactivated as living matter, figures that return in virtual form, and disruptive bodies that keep reappearing on borders. Both the installation and performance address the intentional erosion of bodies, land, and structures in different forms, but also their re-appearance in and returns to spaces where they “should not be.” These projects invite us to consider the forms of entanglement between the destruction of bodies and the erasure of images, and the conditions under which these same bodies and images might once again reappear.
Mirna Bamieh / Palestine Hosting Society
Menu of Dis/appearance
LAB Commission / World Premiere
November 21-23, 7:30pm
Presented at and in partnership with Murray’s (73 Broadway, Tivoli, NY, 12583)
Tickets: $35, including dinner
In its first dinner performance in the United States, Palestine Hosting Society presents an expanded approach to “Palestinianess” that trespasses borders and geographies. Through a menu that brings together dishes from Palestinian cities and villages, alongside others that were preserved in Palestinian refugee camps outside Palestine, and those that narrate inter-generational food habits and memory of the Palestinian diaspora, especially in the United States. Menu of Dis/appearance narrates stories about time, history, and parts of ourselves that we might have allowed to slip away.
Menu of Dis/appearance is a dinner performance that invites the audience on a journey through a selection of dishes that shares Palestine Hosting Society’s investigation and unearthing of traditional Palestinian cuisine. Some of these dishes have been forgotten, their names rendered mostly abstract to the current generation of Palestinians. Being denied a state of their own, Palestinians use food as a means to express an identity that is constantly undermined. Life under occupation atrophied this connection to food, through imposing restriction policies over food and water resources, inflicting control on wild plant foraging, as well as creating dissonance by showcasing Palestinian dishes as Israeli. Over the years, such measures created a kitchen that is dispossessed, making many Palestinian traditional dishes disappear, or temporarily withdraw.
LAB Commission / US Premiere
November 22, 7:30pm; November 23, 3pm; November 24, 4pm
LUMA Theater, Fisher Center
“The Catastrophe is a violent crisis during which the subject, experiencing the amorous situation as a definitive impasse, a trap from which he can never escape, sees himself doomed to total destruction.” — Roland Barthes, A Lover’s Discourse: Fragments
Night, from Lebanese choreographer Ali Chahrour, is a dance concert inspired by the dense archive of love and romance in classical Arabic poetry, and from contemporary stories of lovers and their cruel separation. The work references stories from the cultural memory of the Levant and Mesopotamia about the fate of lovers who challenged social and religious systems, and whose bodies were punished and sentenced to suffer the distance of separation as well as the hope of impossible reunions.
The performance records the vicissitudes of lovers and their resistance, leading up to the moment when they fall and fade away. The exhausted body succumbs, and with it falls every action and instrument/tools that the performers had carried throughout the show. The fall reveals the fragility of the lover/performer, and the frailty of all the methods and tools at his disposal. The stage becomes the battlefield after the battle, where the audience has just witnessed the death, or rather, the birth of its heroes.
Night is co-commissioned by the Fisher Center, and co-produced by Zoukak Theatre Company, the Arab Arts Focus with the support of Stiftelsen, Studio Emad Eddin and Ford Foundation, Fonds de dotation du Quartz (Brest), and the Zurich Theatre Spektakel, with additional support from Fabrik Potsdam, and Kunstfest Weimar. Night was developed, in part, at the 2018 Sundance Institute Theatre Lab in Morocco with continued support through its Post-Lab Support Initiative.
LAB Commission / World Premiere
November 23, 9pm; November 24, 7:30pm
Sosnoff Stage Right, Fisher Center
After 30 years in the United States, it is the day of Fito’s naturalization ceremony. As he raises his hand for the Oath of Allegiance, he is transported to a composition of musical snapshots that make up his tapestry in this country. Some jaded, some moot, some filled with bodies of water, some disheartening—but none ever debilitating enough to keep him from chasing his dream to be the first American citizen in his family. FITO is an interactive concert-play incorporating songs, stories, and spoken word poems that meld to paint a soundscape of what it can take to be accepted in your own home, by your own people—or yourself.
letter to a friend
LAB Commission / World Premiere
November 21, 6-9pm; November 22, 6-9:30pm; November 23, 1-9:30pm; November 24, 1-8pm
Sosnoff Stage Left, Fisher Center
The artist asks a friend to start an investigation and recounts in minute detail various aspects of her home and street in Bethlehem—a site marked by movement, migrations, survival, and war.
Tania El Khoury
Cultural Exchange Rate
LAB Commission / US Premiere
November 21-22, 6pm, 7pm, 8pm; November 23, 1:30pm, 2:30pm, 3:30pm, 4:30pm, 7pm, 8pm; November 24, 1pm, 2pm, 3pm, 5:30pm, 6:30pm
Sosnoff Backstage, Fisher Center for the Performing Arts
The cruelest of borders are invisible to the eye and present in everyday life: the death traps set within a moving body of water and the concealed militarization of faraway border villages.
Cultural Exchange Rate is an interactive live art project in which artist Tania El Khoury shares her family memoirs of life in a border village between Lebanon and Syria; marked by war survival, valueless currency collections, brief migration to Mexico, and a river that disregards the colonial and national borders.
The audience is invited to immerse their heads into one family’s secret boxes to explore the sounds, images, and textures of traces of more than a century of border crossings.
Cultural Exchange Rate is based on the artist’s recorded interviews with her late grandmother, oral histories collected in her village in Akkar, the discovery of lost relatives in Mexico City, and the family’s attempt to secure dual citizenship.
Jason de León
Hostile Terrain 94 (HT94)
November 21, 6-9pm; November 22, 6-9:30pm; November 23, 1-9:30pm; November 24, 1-8pm
Hostile Terrain 94 (HT94) is a prototype of a participatory political art installation organized by the Undocumented Migration Project that will launch in the fall of 2020 in 150 locations around the globe simultaneously. A 20-foot-long map of the Arizona/Mexico border is populated with 3,199 handwritten toe tags that contain information about those who have died while migrating including name (if known), age, sex, cause of death, condition of body, and location. Some tags contain QR and Augmented-Reality codes that link to content related to migrant stories and visuals connected to immigration that can be accessed via cellphone. HT94 is intended to memorialize and bear witness to the thousands who have died as a result of Prevention Through Deterrence.
The most crucial (and interactive) aspect of the installation are the audience members committing their time and energy to meticulously fill out the death details for all 3,199 toe tags and then being assisted in placing these tags in the exact locations on the map where those individuals were found.
Naturalized Borders (to Gloria)
LAB Commission / World Premiere
m(Other)s: Hudson Valley
Naturalized Borders Bard Farm Walk: November 21-22, 3:30pm; November 23, 1:30pm
Naturalized Borders Return to the Land Farm Ritual: November 24, 2:30-4:30
Naturalized Borders & m(Other)s (Installation): November 21, 6-9pm; November 22, 6-9:30pm; November 23, 1-9:30pm; November 24, 1-8pm
LAB Commission / World Premiere
Weis Atrium, Fisher Center
and Bard Farm
Naturalized Borders (to Gloria):
“The U.S.-Mexican border es una herida abierta where the Third World grates against the first and bleeds.” — Gloria Anzaldúa, Borderlands/La Frontera: The New Mestiza, 1987.
Naturalized Borders (to Gloria) is the first iteration of multifaceted, interactive land art and community-based project, including a 72-foot long line of indigenous crops (corn, beans and squash, known as “the three sisters”) planted in the shape of the US/Mexican border line on the Bard Farm; the harvesting, sharing, and clearing of the crop and land; a mobile paleta cart-turned-drawing studio upon which persons of any background are invited to memorialize real or imagined borders; and the documentation and archive from various stages of the project. Continuing the legacy of Chicana feminist writer Gloria Anzaldua, the work seeks to unearth histories of immigration, labor rights, borders, land sovereignty and systemic oppression.
Naturalized Borders (to Gloria) was created in collaboration with the Bard Farm (Rebecca Yoshino, Farm Coordinator) and The Center for the Study of Land, Air and Water, with the participation of students Mary Elizabeth Klein Meghan Mercier, Kaitlyn McClelland, Gabrielle Reyes, Alexi Piirimae, Midori Barandiaran, and Austin Sumlin.
m(Other)s: Hudson Valley:
m(Other)s: Hudson Valley is a series of video portraits of immigrant women, both documented and undocumented, holding their first-generation children. Inspired by the “hidden mother” photographs common from the advent of photography up until the 1920s, a standard practice requiring the mother to hold the child still while being covered and remaining invisible in the interest of foregrounding the child, these portraits seek to connect the political and social situation of women at the turn of the 20th century with the invisibility of the labor of immigrant women today.
The Where No Wall Remains Reading Room
Organized by Curatorial Fellows Sukanya Baskar CCS ‘20, Thea Spittle CCS ‘19, and Triston Tolentino ‘18
Fridays, September 27 through November 15, 1 pm-4 pm
November 21-24 during Biennial open hours
New Annandale House
Free and open to the public
The resources from the Biennial syllabus can be accessed at the Reading Room at the New Annandale House on the Bard College Campus. Open to the public, the Reading Room provides a space for individual and communal engagement with the discourse of Where No Wall Remains.
A schedule of special events at the Reading Room, including public talks, readings, and screenings, will be announced and posted here and on the blog.
The Reading Room is presented in association with Bard’s Center for Experimental Humanities.
New Annandale House, Home of the Center for Experimental Humanities
1399 Annandale Road
Annandale-on-Hudson, NY 12571
Where No Wall Remains is supported by grants from the Ford Foundation, Arab Fund for Arts and Culture, Thendara Foundation, John D. and Catherine T. MacArthur Foundation, the Consortium on Forced Migration, Displacement and Education, and The Vilcek Foundation. Live Arts Bard is made possible by generous support from members of the Live Arts Bard Creative Council and Advisory Board of the Fisher Center at Bard.
About Tania El Khoury
Tania El Khoury is a live artist creating installations and performances focused on audience interactivity and concerned with the ethical and political potential of such encounters. Her work has been translated and presented in multiple languages in 32 countries across six continents, in spaces ranging from museums to cable cars to the Mediterranean Sea. She is a 2019 Soros Art Fellow and the recipient of the 2017 International Live Art Prize, the 2011 Total Theatre Innovation Award and Arches Brick Award. Tania holds a PhD in Performance Studies from Royal Holloway, University of London. In 2018, a survey of her work entitled ear-whispered: works by Tania El Khoury took place in Philadelphia organized by Bryn Mawr College and FringeArts Festival and funded by the Pew Centre for Arts and Heritage. Tania is affiliated with Forest Fringe in the UK and is the co-founder of the urban research and performance collective Dictaphone Group in Lebanon.
About Gideon Lester
Gideon Lester is Artistic Director for Theater & Dance at the Fisher Center at Bard, where he founded Live Arts Bard, the Fisher Center’s residency and commissioning program for the performing arts. A Tony Award-winning artistic director, dramaturg, creative producer, and educator, he is also Director of Bard’s undergraduate Theater and Performance Program. From 2010 till 2018 he was co-curator of Crossing the Line, a cross-disciplinary arts festival in New York City. From 1997 to 2009 he worked at the American Repertory Theatre in Cambridge, Massachusetts, as Acting Artistic Director, Associate Artistic Director, and Resident Dramaturg. He also chaired Harvard University’s MFA program in dramaturgy at the A.R.T. Institute for Advanced Theatre Training, and has taught at Harvard College and Columbia University’s School of the Arts.
About the Artists
At those terrifying frontiers where the existence and disappearance of people fade into each other (part 2)
Basel Abbas and Ruanne Abou-Rahme (b.1983) work together across a range of sound, image, text, installation and performance practices. Their practice, largely research based, is engaged in the intersections between performativity, political imaginaries, the body and virtuality, and investigates the political, visceral, material possibilities of sound, image, text and site, taking on the form of multimedia installations and live sound/image performances. Solo presentations include Kunstverein Hamburg (Hamburg), Krannert Art Museum (Illinois), Alt Bomonti (Istanbul), ICA (Philadelphia), Office for Contemporary Art (Oslo), Carroll/Fletcher (London), Akademie Der Kuenste Der Welt (Cologne), New Art Exchange (Nottingham) and Delfina Foundation (London). Selected group exhibitions include Kunstgebaude Stuttgart (Stuttgart), Portikus (Frankfurt), The Mistake Room (Los Angeles), SeMa Biennale (Seoul), Kunsthalle Wien (Vienna), Museum Of Modern Art (Warsaw), ICA (London), the 12th Sharjah Biennale, the 31st São Paulo Biennial; the 10th Gwangju Biennale; the 13th Istanbul Biennial; the 6th Jerusalem Show; HomeWorks 5 (Beirut); and Palestine c/o Venice at the 53rd Venice Biennale. They were fellows at Akademie der Kunste der Welt in Cologne in 2013 and artists in residence at the Delfina Foundation, London in 2009. They are recipients of the Sharjah Biennale Prize in 2015 and The Abraaj Prize in 2016. Their most recent publication And Yet My Mask Is Powerful is published by Printed Matter in New York.
Muqata'a is a musician and MC who creates music from sampled material, field recordings and electronic devices. The results range from hip-hop beats to glitch. His albums include Inkanakuntu (2018), Dubt Al-Ghubar (2017), La Lisana Lah(2017) and Hayawan Nateq (2013). Muqata’a is also the co-founder of the Ramallah Underground collective (2003–2009) and Tashweesh, a sound and image performance group in collaboration with artists Basel Abbas and Ruanne Abou-Rahme. He has composed several international and local film scores, as well as dance theater performances, and is now working on different collaborative and solo projects. Upcoming and recent performances include Sonar Festival (Barcelona), Boiler Room (Ramallah), CTM Festival (Berlin). His most recent album Inkanakuntu is out on Discrepant records.
Menu of Dis/appearance
Palestine Hosting Society is a live art project that explores traditional food culture in Palestine, especially those that are on the verge of disappearing. The project brings these dishes back to life over dinner tables, walks, and various interventions. Palestine Hosting Society is founded and run by artist and cook Mirna Bamieh, as an extension of her art practice that often looks at the politics of disappearance, and memory production. Mirna creates artworks that unpack social concerns and limitations in contemporary political dilemmas, and reflect on the conditions that characterize Palestinian communities. To date, Palestine Hosting Society has created several projects, including Family Dinners, Our Nabulsi Table, Our Jerusalem Table, A Wondering in Flavors: The Old City of Jerusalem, a table, a tour and a map, The Wheat Feast, The Edible Wild Plants of Palestine Table, Our Gaza Table, and Food Walks. After an intensive research period for each project, the collective creates a menu that is shared over one long table for 40-60 guests, with dishes carefully selected to create spaces of reflection upon socio-political realities, attitudes, and historical practices, and even the suppressed elements of history.
Ali Chahrour is a choreographer, dancer, and a graduate of the theatre department at The Lebanese University. Influenced by techniques from several European countries, he studies contemporary dance in the Arab world and movement that is related to society’s memory and its local circumstances that contribute to creating a research about a local quality contemporary dance, whose techniques and problematics are inspired by its surroundings and history. His work examines the relationship between dance and the body, and the religion and the sacred, relying on the Islamic and Shiite religious rituals and practices, especially in his recent trilogy: Fatmeh, Leila’s Death and May he rise and smell the fragrance.
Rudi Goblen is a writer, dancer, actor, and music producer. He was commissioned by Miami Light Project to create the solo dance theatre performances Insanity Isn’t, Fair Welling, and PET. He is also known as an acclaimed B-Boy. Alongside his award-winning crew Flipside Kings, he has toured internationally, competing, adjudicating, and teaching. Rudi is a member of Teo Castellanos/D-Projects, a contemporary dance/theater company that fuses world arts and culture while examining social issues through performance. With D-Projects, Rudi toured internationally in Scratch & Burn, a meditation on the war in Iraq; and FAT BOY, a project exposing world hunger amid American consumerism and waste. Rudi is a recipient of the Future Aesthetics Artist Re-grant (FAAR) funded by the Ford Foundation in conjunction with the Future Aesthetics Cohort, the Miami-Dade County’s Choreographers Award (2013, 2018), and a FEAST Miami Grant for his book of poems and artwork A Bag of Halos and Horns. He has trained and worked with DV8 Physical Theater, Cirque Du Soleil, and is a founding member of Rosie Herrera Dance Theatre. He has released five instrumental albums, and is currently attending the Yale School of Drama for an MFA in Playwriting.
letter to a friend
Emily Jacir’s work— as poetic as it is political and biographical—investigates histories of colonization, exchange, translation, transformation, resistance, and movement. Jacir has built a complex and compelling oeuvre through a diverse range of media and methodologies that include unearthing historical material, performative gestures, and in-depth research. She has been actively involved in education in Palestine since 2000 and deeply invested in creating alternative spaces of knowledge production internationally. She is the Founding Director of Dar Yusuf Nasri Jacir for Art and Research and was recently the curator the Young Artist of the Year Award 2018 at the A. M. Qattan Foundation in Ramallah, We Shall Be Monsters. Jacir is the recipient of several awards, including a Golden Lion at the 52nd Venice Biennale (2007); a Prince Claus Award from the Prince Claus Fund in The Hague (2007); the Hugo Boss Prize at the Guggenheim Museum (2008); the Alpert Award (2011) from the Herb Alpert Foundation; and the Andrew W. Mellon Foundation Rome Prize Fellowship at the American Academy in Rome (2015). Recent solo exhibitions include the Irish Museum of Modern Art, Dublin (2016-17); Whitechapel Gallery, London (2015); Darat il Funun, Amman (2014-2015); Beirut Art Center (2010); Guggenheim Museum, New York (2009).
Cultural Exchange Rate
Tania El Khoury (See Above)
Hostile Terrain 94 (HT94)
Jason de León is Professor of Anthropology and Chicana/o Studies at the University of California, Los Angeles and Director of the Undocumented Migration Project, a non-profit research-art-education collective focused on documenting and understanding the violent social process of clandestine movement between Latin America and the United States. He is the co-creator of the exhibition State of Exception/Estado de Excepción that focused on the material traces of undocumented movement across the Sonoran Desert of Arizona. His first book The Land of Open Graves: Living and Dying on the Migrant Trail was published by the University of California Press in 2015 and was most recently awarded the J.I. Staley Prize from the School for Advanced Research. De León is currently writing his second book (tentatively titled Soldiers and Kings), a photoethnography about the daily lives of Honduran smugglers crossing Mexico. He is a 2017 MacArthur Fellow.
Naturalized Borders (to Gloria) & m(Other)s: Hudson Valley
Emilio Rojas is a multidisciplinary artist working primarily with the body in performance, using video, photography, installation, public interventions, and sculpture. He holds an MFA in Performance from The School of the Art Institute of Chicago and a BFA in Film from Emily Carr University in Vancouver, Canada. Rojas identifies as a NAFTA baby, (born in Mexico City, spent his formative artistic years in Canada, and is currently based in Chicago). As a queer latinx immigrant with indigenous heritage, it is essential to his practice to engage in the postcolonial ethical imperative to uncover, investigate, and make visible and audible undervalued or disparaged sites of knowledge, narratives, and individuals. He utilizes his body in a political and critical way, as an instrument to unearth removed traumas, embodied forms of decolonization, migration and poetics of space. His research-based practice is heavily influenced by queer and feminist archives, border politics, botanical colonialism, and defaced monuments. His work has been exhibited in exhibitions and festivals in the US, Mexico, Canada, Japan, Austria, England, Greece, France, Germany, Italy, Spain and Australia, as well as institutions like The Art Institute and the Museum of Contemporary Art in Chicago, Ex-Teresa Arte Actual and Museo Tamayo in Mexico City, The Vancouver Art Gallery, The Surrey Art Gallery, The DePaul Art Museum, and The Botin Foundation. He is represented by Jose de la Fuente in Spain, and Gallleriapiu in Italy.
The debate was moderated by Dyjuan Tatro '18, a Bard alumnus who began his college career with the Bard Prison Initiative while incarcerated, completed his degree at Bard College in Annandale, and now serves as BPI's government affairs and advancement officer. Dyjuan was also a member of the famous BPI Debate Union team that defeated Harvard in 2015 and is featured in the upcoming PBS documentary College Behind Bars, directed by Lynn Novick and executive produced by Ken Burns. This four-part series follows a dedicated group of BPI students as they pursue their educations while incarcerated. The film is currently in previews and will air and stream on PBS on November 25 and 26.
The Sioux Chef, is committed to revitalizing Native American cuisine. Chef Sean comes to the Fisher Center to discuss The (R)evolution of Indigenous Food Systems of North America, Tuesday, October 29, in the LUMA Theater at 5 p.m. The talk will be followed by a question and answer period and book signing. Admission is free; to reserve tickets and for additional information visit fishercenter.bard.edu or call the Fisher Center box office at 845-758-7900.
Through his research Chef Sean has uncovered and mapped out the foundations of the indigenous food systems through an indigenous perspective. His book, The Sioux Chef’s Indigenous Kitchen, earned a 2018 James Beard Award and was a top 10 cookbook of 2017. He has become renowned nationally and internationally in the culinary movement of indigenous foods and is leading a movement to completely redefine North American cuisine.
Copies of The Sioux Chef’s Indigenous Kitchen will be available for purchase in the lobby of LUMA Theater courtesy of Oblong Books. In addition, Ken Greene from Seedshed will be showcasing Haudenosaunee crops grown in the Native American Seed Sanctuary, a collaborative initiative with the St. Regis Mohawk tribe Seedshed and The Hudson Valley Farm Hub.
This event is sponsored by Bard College’s Center for the Study of Land, Air and Water, American Studies, Environmental and Urban Studies, Bard Farm, Bard Office of Sustainability, Experimental Humanities, The Bard Center for Civic Engagement, Trustee Leader Scholar Program, and Oblong Books. The Fisher Center’s presentation of the event is in tandem with the upcoming Live Arts Bard Biennial, Where No Wall Remains: An International Festival About Borders, November 21–24, 2019.
Chef Sean Sherman, Oglala Lakota, born in Pine Ridge, SD, has been cooking across the US and Mexico over the past 30 years, and has become renowned nationally and internationally in the culinary movement of indigenous foods. Chef Sean has studied extensively to determine the foundations of Native American indigenous foods systems to bring back a sense of Native American cuisine to today’s world. In 2014, he opened the business titled The Sioux Chef as a caterer and food educator in the Minneapolis/Saint Paul area. He and his business partner Dana Thompson also designed and opened the Tatanka Truck, which featured pre-contact foods of the Dakota and Minnesota territories.
In October 2017, Sean was able to perform the first decolonized dinner at the James Beard House in Manhattan along with his team. His first book, The Sioux Chef’s Indigenous Kitchen was awarded the James Beard medal for Best American Cookbook for 2018 and was chosen as one of the top ten cookbooks of 2017 by the LA Times, San Francisco Chronicle, as well as the Smithsonian Magazine. This year, Chef Sean was selected as a Bush Fellow, as well as receiving the 2019 Leadership Award by the James Beard Foundation. The Sioux Chef team of twelve people continues with their mission to help educate and make indigenous foods more accessible to as many communities as possible through the recently founded nonprofit North American Traditional Indigenous Food Systems (NATIFS). Learn more: natifs.org.
The Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. At once a premier professional performing arts center and a hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas and perspectives from the past, present, and future. The organization’s home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard, and audiences in the Hudson Valley, New York City, across the country and around the world. The Fisher Center illustrates Bard’s commitment to the performing arts as a cultural and educational necessity. Building on a 150-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders.
Crocodile, Leidy Churchman’s first U.S. survey, is currently on view at the Hessel Museum of Art at Bard College through October 13.By Alex Jen
Curated by Lauren Cornell and including over 60 paintings of everything from the blue Maine coast to thickly laid abstractions to appropriations of other people’s art, Crocodile brims with a genuine curiosity and care. Churchman seems to be painting as a way to better comprehend his subjects; the canvases feel like dedications, striving to embody someone or something’s true nature. Many of the paintings feature animals, their expressions so coolly composed you can’t help but admire how well they seem to understand themselves.
Teagle Foundation. The event featured leaders and fresh voices promoting equity in higher education. It took place on Thursday, October 3, at the Harold Pratt House in New York City. Daniel Terris, dean of the Al-Quds Bard College of Arts and Sciences in East Jerusalem, spoke on the panel "Opening Minds" on the topic of educating for citizenship. Marina van Zuylen, professor of French and comparative literature at Bard College and national academic director of the Clemente Course in the Humanities, spoke on the panel "Liberal Arts for All" on how the humanities bring hope to adults in crisis.
The Bard Prison Initiative was founded in 1999 by undergraduates at Bard College responding a nationwide decimation of college-in-prison. After obtaining access to the New York State prison system and securing limited funding, then undergraduate Max Kenner ‘01 launched BPI as a pilot program with 15 students. Over the last twenty years, BPI has enrolled hundreds of incarcerated students and impacted thousands more. It has inspired similar programs across the country and persuaded government leaders to begin to reinvest in education in prison at every level. Most importantly, BPI alumni/ae are thriving – earning graduate degrees, establishing careers, and opening businesses.
This preview event will feature segments from the documentary followed by panel discussions with BPI alumni featured in the film, director Lynn Novick, producer Sarah Botstein, and BPI Executive Director Max Kenner ’01.
This screening is free and open to the public, reservations are strongly encouraged. For more information and to reserve tickets, call 845-758-7900 or visit fishercenter.bard.edu.
College Behind Bars is a production of Skiff Mountain Films, in association with Florentine Films. The four-part series airs on PBS November 25-26 and will be available to stream on the PBS Video App.
Launched on October 1, 2019, the Raptors Cup is an annual competition between Bard's 19 varsity programs. The name of the winning team will be engraved on the Raptors Cup each year, and the cup will be kept in the trophy case in the Stevenson Athletic Center.
Click here to get the Raptors Cup form.
The Student-Athlete Advisory Committee participated in establishing the goals of the program, which are meant to build the athletic community, inspire leadership and civic development among student-athletes, and to get everyone actively engaged in volunteer efforts, both on campus and off.
Student-athletes can collect points for their team in six value areas:
Tim Davis and Artist in Residence Tanya Marcuse among seven artists selected to make or exhibit work focusing on the Hudson River Valley and climate change. The exhibition will be on view at Hudson Hall in Hudson, New York, October 12 to December 21, 2019.
The show draws a geographic line around the Hudson River Valley. In part this is to prompt a fresh look at the mythology of the Valley’s art, ecology, and history, but through the lens of our Anthropocene era. Works on exhibit include contemporary landscape photography, mid-19th century landscape painting, and data visualization art about tree ring science.Participating artists contribute newly commissioned and existing work. The roster includes: Sarah Bird, Tim Davis, Christopher Griffith, Genevieve Hoffman, Tanya Marcuse, Daniel McCabe, Laura Plageman, and paintings by Hudson River School artists. Alongside these works, LightField exhibits the art produced in its annual Young Photographers Workshop.
fishercenter.bard.edu or call the Fisher Center box office at 845-758-7900.
Underground Railroad Game is performed by the work’s creators, Jennifer Kidwell (last seen at the Fisher Center in the 2016 SummerScape production of Demolishing Everything with Amazing Speed) and Scott R. Sheppard, who go round after round on the mat of our nation’s history, tackling race, sex, and power in this R-rated, kaleidoscopic, and fearless comedy. “This riveting, whip-smart performance piece... is as daringly unexpurgated as anything you’ll encounter onstage today,” writes Peter Marks in The Washington Post. “It’s an effort to reset the table for the complicated conversation about race that America eternally attempts to start, and always ends up recoiling from in guilt and insecurity and anger.” The play, inspired by an actual classroom game Sheppard experienced as a child in Hannover, PA, is a pointed and hilarious look at the legacy of slavery in America and how that legacy influences contemporary dialogues around race 400 years after the first enslaved peoples from Africa arrived on this continent.
Underground Railroad Game is written by Kidwell and Sheppard with Lightning Rod Special, directed by Taibi Magar, and produced by Octopus Theatricals. It is presented as part of Bard’s Hannah Arendt Center’s annual conference, Racism and Antisemitism.
“Explosive! Fearlessly, ferociously uninhibited . . . the show’s most subversive quality is also quintessentially American: it’s wildly entertaining.”—Elisabeth Vincentelli, The New Yorker
Underground Railroad Game contains sexually explicit material, strong language, and mature themes and is recommended for adventurous audiences ages 18 and up.
The Bard Fiction Prize committee writes: “The nine stories in Clare Beams’ debut collection of fiction, We Show What We Have Learned, range from factual, historical settings and characters to eerily fantastical ones, displaying a startling depth and an epic scale of imagination. While the characters, and the situations they find themselves in, are sometimes surreal, their psychologies are always absolutely real—fully, compassionately drawn. Every one of these stories has a world and a lifetime behind it, and every one is a compelling, disquieting, and immensely pleasurable journey, reverie, and dream for its reader. Clare Beams is a subtle, quiet master of short fiction, who writes in beautiful and exquisitely crafted prose.”
“I am so much more grateful to Bard and to the Bard Fiction Prize committee than I can possibly say for this recognition of my work and for this gift—one of the best gifts anyone could give me, as a writer who’s also a parent of young children—of time. To join this list of winners, so many who are heroes and heroines of mine, is an honor, and to join the inspiring Bard community is a thrill. I can’t wait to meet the students and faculty and work on my third book, a new novel, in their midst,” says Beams.
Clare Beams is the author of the story collection We Show What We Have Learned, which was a Kirkus Best Debut of 2016 and a finalist for the PEN/Robert W. Bingham Prize, the New York Public Library’s Young Lions Fiction Award, and the Shirley Jackson Award. Her first novel, The Illness Lesson, will be published by Doubleday in February of 2020. Her fiction appears in One Story, n+1, Ecotone, The Common, Electric Literature’s Recommended Reading, The Best American Nonrequired Reading, and elsewhere, and she has received fellowships from the National Endowment for the Arts, the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference, and the Sustainable Arts Foundation. She lives in Pittsburgh with her husband and two daughters, and has taught creative writing at Carnegie Mellon University and St. Vincent College.
The creation of the Bard Fiction Prize, presented each October since 2001, continues Bard’s long-standing position as a center for creative, groundbreaking literary work by both faculty and students. From Saul Bellow, William Gaddis, Mary McCarthy, and Ralph Ellison to John Ashbery, Philip Roth, William Weaver, and Chinua Achebe, Bard’s literature faculty, past and present, represents some of the most important writers of our time. The prize is intended to encourage and support young writers of fiction, and provide them with an opportunity to work in a fertile intellectual environment. Last year’s Bard Fiction Prize was awarded to Greg Jackson for his short story collection Prodigals (Farrar, Straus and Giroux 2016).
Guest soloists include Bard Conservatory’s concerto competition winner Xinran Li in a performance of the Sibelius Violin Concerto (October 19–20); and German baritone Michael Nagy, who will sing composer Othmar Schoeck’s song cycle Buried Alive about a man who wakes up to find he has mistakenly been buried. The composer adapted the work from Gottfried Keller’s poem Lebendig begraben.
TŌN’s winter/spring series will return in 2020 with Beethoven’s Eroica in celebration of the great composer’s 250th birthday (February 8–9); a program titled Into the Wilderness presenting the U.S. premiere of Franck’s What You Hear on the Mountain (April 25–26); and Mahler’s massive Resurrection Symphony (May 9–10).
The website is organized to streamline and standardize the process for evaluating and implementing a potential micro hydropower site responsibly. The site breaks down the requirements for assessing, implementing, and maintaining a micro hydropower system. Using the Saw Kill Project as an example, lessons learned are provided as a resource for landowners, local governments, and researchers alike.
The MicrohydroNY website will be updated on a regular basis with news about the Saw Kill Project and changes that affect micro hydropower in New York State. Visitors are encouraged to explore the website and sign up for direct emails from MicrohydroNY at microhydrony.org.
Applicants must be 17 years of age or older; living in a low-income household; able to read a newspaper in English; highly motivated and committed; and have the time and desire to attend classes regularly, complete assignments outside of class, and participate fully in the course for the entire nine-month term.
“The impact this course has had on the lives of people in the Kingston area—veterans, single mothers, homeless, people in recovery, citizens in search of a community—is a great example of the power of education to change lives,” said Clemente Course Director Marina van Zuylen, stressing that many of the course’s graduates go on to enroll in part- and full-time college programs, while others have been successful in finding new career opportunities and getting their creative work published or exhibited. “The Clemente Course’s supportive and devoted teachers provide a very rare kind of personal and intellectual nurturing. Each year, we’re reaching more people and engaging more partners in the community who are eager to support the course and our students.”
Applications can be picked up from the Kingston Library, by clicking (2019 Application), or by visiting clemente.bard.edu. The application deadline for the 2019 Kingston Clemente Course is October 3. If you miss the deadline, please contact Marina van Zuylen at firstname.lastname@example.org. Once the application is completed, please e-mail it to Marina van Zuylen at email@example.com, or drop it off at the front desk of the Kingston Library at 55 Franklin Street, Kingston, NY 12401. For library hours, please call 845-331-0507 or go to kingstonlibrary.org/hours.php. For more information about the Bard College Clemente Course in the Humanities being offered in Kingston, please visit clemente.bard.edu or e-mail firstname.lastname@example.org.
The Bard College Clemente Course in the Humanities, taught by Bard College faculty, provides college-level instruction for college credit to economically disadvantaged individuals. Begun as a pilot project on the Lower East Side of Manhattan, the Clemente Course is currently in its 21st year of operation. Overall, the program has enrolled over 3,000 students. More than 2,000 have completed the course and earned college credit; and more than 1,500 students have transferred to four-year colleges and universities or plan to do so. The Clemente Course was awarded a 2014 National Humanities Medal by President Barack Obama.
The program is based on the belief that by studying the humanities, participants acquire the cultural capital, conceptual skills, and appreciation for reasoned discourse necessary to improve their societal situation. Clemente students receive 110 hours of instruction in five humanistic disciplines and explore the great works of literature, art history, moral philosophy, and American history. Instruction in critical thinking and writing is also offered. The program removes many of the financial barriers to higher education that low-income individuals face: books, carfare, and childcare are provided, and tuition is free. Bard grants a certificate of achievement to any student completing the Clemente Course and 6 college credits to those completing it at a high level of academic performance. For more information, please visit clemente.bard.edu.
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 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. Fellows may use their award to advance their expertise, engage in bold new work, or, if they wish, to change fields or alter the direction of their careers. 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. Indeed, the purpose of the Fellowship is to enable recipients to exercise their own creative instincts for the benefit of human society. MacArthur Fellows receive $625,000 stipends that are bestowed with no conditions; recipients may use the money as they see fit. Eleven Bard faculty members have previously been honored with a MacArthur Fellowship.
Jeffrey Gibson grew up in major urban centers in the United States, Germany, Korea, and England. He is a Choctaw-Cherokee artist who incorporates his heritage into his multi-disciplinary work, which includes abstract sculptures, paintings, and prints. Gibson earned his Master of Arts in painting at the Royal College of Art, London, in 1998 and his Bachelor of Fine Arts in painting from the School of the Art Institute of Chicago in 1995. Gibson has work in the permanent collections of the Denver Art Museum, Museum of Fine Arts, Boston, Smithsonian Institution's National Museum of the American Indian at the Smithsonian Institution, National Gallery of Canada, Crystal Bridges Museum of American Art, and more. Recent solo exhibitions include Jeffrey Gibson: Like a Hammer at the Seattle Art Museum in Washington and Madison Museum of Art in Wisconsin and Jeffrey Gibson: This is the Day at Blanton Museum of Art in Austin, Texas. Gibson is a past TED Foundation Fellow, and a Joan Mitchell Grant recipient. He lives and works in New York.
Valeria Luiselli is an award-winning writer of fiction and nonfiction whose books are forthcoming and/or published in more than 20 languages. She is the author of the novels Lost Children Archive (2019); The Story of My Teeth (2015), named Best Book in Fiction by the Los Angeles Times, one of the best books of the year by the New York Times, and a National Book Critics Circle finalist; and Faces in the Crowd (2014), for which she received a National Book Foundation “5 under 35” prize, among other honors. Tell Me How It Ends: An Essay in 40 Questions, a nonfiction work published in 2017, won the American Book Award and was a National Book Critics Circle and Kirkus Prize finalist. Other nonfiction publications include “Maps of Harlem,” in Where You Are, and Sidewalks, a collection of essays that was named one of the 10 best books of 2014 by New York. Recent journal, newspaper, and radio work has appeared in the New York Times (“The Littlest Don Quixotes versus the World”), Guardian (“Frida Kahlo and the Birth of Fridolatry”), Outlook Interview Series, BBC World Services (“Undocumented Central American Minors”), Harper’s Trump special (“Terrorist and Alien”), and NPR’s This American Life (“The Questionnaire”), among others. Honors also include an Art for Justice Fellowship (2018–19) and residencies at Under the Volcano, USA-Mexico; Poets House, New York City; and Castello di Fosdinovo, Italy. She previously taught at Hofstra University, City College, the New York University MFA Writing Program in Paris, and Columbia University’s MFA Writing Program. She founded the Teenage Immigrant Integration Association at Hofstra in 2015, a program that offers continuous support to immigrant and refugee teens through one-on-one English classes, soccer games, and civil rights education. She is a member of PEN America and the Association of Writers and Writing Programs. She was born in Mexico City and currently lives in New York City.
“Drones are no longer the sole domain of technologically advanced militaries,” said Dan Gettinger, co-director of the Center for the Study of the Drone and the author of the study. “Military drone programs around the world are maturing and diversifying as more and more countries are seeking an unmanned capability. This will have a significant effect on the future of armed conflict.”
Among other key findings, the Center identified over 260 units that have been activated to operate drones, over 230 bases and test sites, and more than 170 different types of drones in service around the world.
The report is available for free online at dronecenter.bard.edu.
The two-day conference takes place on Thursday, October 10 and Friday, October 11 in Olin Hall, on Bard’s Annandale-on-Hudson campus. For registration information, please visit hac.bard.edu/conference2019. Speakers will discuss questions such as: What is racism? Is antisemitism a form of racism? What does anti-racism mean today? Is it antisemitic to criticize the state of Israel? Is equality possible in a world where prejudice exists? How can we respond to racist fantasies?
Featured speakers include:
Kenyon Victor Adams, multidisciplinary artist and curator; Peter Baehr, research professor in social theory, Lingnan University, Hong Kong; Étienne Balibar, emeritus professor of philosophy, University of Paris-Nanterre, and anniversary chair of contemporary European philosophy at Kingston University, London; Aliza Becker, associate fellow, Hannah Arendt Center; Kathryn Sophia Belle, associate professor of philosophy, Pennsylvania State University, and author, Hannah Arendt and the Negro Question; Roger Berkowitz, academic director, Hannah Arendt Center; Robert Boyers, editor, Salmagundi, director, New York State Summer Writers Institute, and professor of English, Skidmore College; Ian Buruma, Paul W. Williams Professor of Human Rights and Journalism, Bard College; Joy Connolly, president, American Council of Learned Societies; Deirdre d’Albertis, dean of Bard College; Lewis R. Gordon, professor of philosophy, University of Connecticut-Storrs; Nacira Guénif-Souilamas, professor of sociology and anthropology, University Paris 8 Vincennes-Saint-Denis; Eric Kaufmann, professor and assistant dean of politics, Birkbeck, University of London; Ibram X. Kendi, National Book Award-winning historian, speaker, and author of Stamped From The Beginning; Jennifer Kidwell, performing artist and cocreator of the Obie Award-winning play Underground Railroad Game; Rev. Jacqui Lewis, public theologian and senior minister, Middle Collegiate Church in Manhattan; John McWhorter, associate professor of English and comparative literature, Columbia University; Marwan Mohammed, sociologist, research fellow, Centre Maurice Halbwachs in Paris, and visiting scholar, John Jay College of Criminal Justice (CUNY); Shany Mor, associate fellow, Hannah Arendt Center, and research fellow, Chaikin Center, Haifa University; Nikita Nelin, writer and winner of 2019 Dogwood Literary Prize; Emilio Rojas, multidisciplinary artist; Peter Rosenblum, professor of international law and human rights, Bard College; Batya Ungar Sargon, journalist and opinion editor, The Forward; Amy Schiller, associate fellow, Hannah Arendt Center; Adam Shatz, contributing editor, London Review of Books, and contributor, to New York Times Magazine, New York Review of Books, New Yorker, and other publications; Scott R. Sheppard, OBIE Award-winning theater artist, codirector, Lightning Rod Special, and cocreator of the Obie Award-winning play Underground Railroad Game; Allison Stanger, Russell Leng ’60 Professor of International Politics and Economics at Middlebury College, technology and human values senior fellow at Harvard University’s Edmund J. Safra Center for Ethics, New America Cybersecurity fellow, and external professor, Santa Fe Institute; Kenneth S. Stern, director of the Bard Center for the Study of Hate, a program of Bard’s Human Rights Project; Mebrak Tareke, writer and a content strategy advisor; Eric K. Ward, executive director, Western States Center; Marc Weitzmann, journalist and author of 12 books, including Hate (2019), which explores the rise of antisemitism in French society; Thomas Chatterton Williams, author, Losing My Cool, and contributing writer, New York Times Magazine; Ruth Wisse, former Martin Peretz Professor of Yiddish Literature and professor of comparative literature, Harvard University, and distinguished senior fellow, Tikvah Fund.
Arendt Center conferences are attended by nearly a thousand people and reach an international audience via live webcast. Past speakers have included maverick inventor Ray Kurzweil; whistleblower Edward Snowden; irreverent journalist Christopher Hitchens; businessman Hunter Lewis; authors Teju Cole, Zadie Smith, Masha Gessen, and Claudia Rankine; Wall Street Journal columnist Walter Russell Mead; and political activist and presidential candidate Ralph Nader. Previous conferences have explored citizenship and disobedience, crises of democracy, the intellectual roots of the economic crisis, the future of humanity in an age increasingly dominated by technology, the crisis in American education, and American exceptionalism. The Arendt Center’s 13th annual conference, “Revitalizing Democracy: from Sortition to Federalism,” will take place October 15–16, 2020.
For a full conference schedule and bios of featured speakers, please visit hac.bard.edu/conference2019. For more information or answers to questions about the conference, please contact email@example.com.
All participants in the tournament competed in five debates on topics ranging from universal basic income to "cancel culture" to Puerto Rican statehood. Top scoring teams then debated in quarter-final, semi-final, and final rounds. Hobart and William Smith Colleges won the final round, making them the tournament champion. Bard High School Early College Queens won the novice final round, making them the novice champions.
Bard Debate Union codirectors Ruth Zisman and David Register ran the tournament, together with 20 members of the Bard Debate Union and alumni/ae Eva-Marie Quinones '17 and Clarence Brontë '18. "It was wonderful to see members of the Bard Debate Network from near and far join together in the spirit of competition and collaboration for an exciting weekend of debating," said Ruth Zisman. "We are so proud of our students and the debate leaders throughout the Bard Network for all of the work they put into this event. It is a testament to the value and importance of public discourse and exchange today."
Upcoming Bard Debate Union events include: the Annual Hannah Arendt Center Conference Public Debate on October 7 (topic: U.S. Prison System: Abolish or Reform) and the Annual Family Weekend Faculty-Student Roundtable on October 26 (topic: Trump and American Foreign Policy). Visit the Bard Debate Union website for a complete list of events.
The event is sponsored by the Bard Center for Civic Engagement, Office of Sustainability, Environmental and Urban Studies Program, and Lifetime Learning Institute.
About the Author
Isabella Tree writes for publications such as National Geographic, Granta, and the Guardian, and is the author of five nonfiction books. Her articles have been selected for the Best American Travel Writing and Reader’s Digest Today’s Best Non-Fiction, and she was Overall Winner of the Travelex Travel Writer Awards. Her latest book Wilding: returning nature to our farm charts the story of the pioneering rewilding project in West Sussex where she lives with her husband Charlie Burrell. Forced to accept that intensive farming on the heavy Sussex clay was economically ruinous, they decided to step back and let nature take over. By introducing free-roaming herbivores—proxies of the large animals that once roamed Britain—the Burrells’ degraded agricultural land has become a functioning ecosystem again. In less than 20 years, wildlife has rocketed and numerous endangered species have made Knepp their home. The Knepp experience challenges conventional ideas about our past and present landscapes, and points the way to a wilder, richer future—one that benefits farming, nature, and us.
For more information about the book, visit nyrb.com.
For more information about the author and Knepp Castle Estate, visit isabellatree.com and knepp.co.uk.
GS Humane’s funding will allow BCSH to support Bard faculty as they design and teach new hate-focused courses, including multidisciplinary ones; create an “economic cost of hate” index, directed by Bard Assistant Professor of Economics Michael Martell; create a “level of annual hate” index, conceived and directed by Robert Matthew Tynes, Associate Director for Research Bard Prison Initiative; underwrite a consultation on how those opposing hate can use social media more effectively; and underwrite a multiday retreat both for academics who study hate and key NGO staff members working to oppose hate.
BCSH Director Kenneth S. Stern ’75 said, “GS Humane’s gift is transformative. It will allow Bard faculty to increase the depth of their teaching and research about hate, and establish a model for other colleges and universities to follow. It will enable academics who are experts in hate and those seeking to combat it, to create new ways, grounded in testable theories, to approach this vexing problem.”
Glenn Opell, GS Humane Corp.’s executive director, said, “The increase in antisemitism and white supremacy in the United States warrants far more study and attention than what’s currently allocated. We think Bard is the perfect laboratory for these studies and we’re excited to support the innovative and vital work of BCSH Director Stern and his colleagues.”
For more information about BCSH and its programs, visit bcsh.bard.edu.
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