News

Choreographer Alexa West MFA ’14 was featured in ArtNews as part of their “New Talent 2026” series, following the staging of her immersive dance performance Jawbreaker. After premiering at the TONO Festival in Mexico in March, Jawbreaker was staged in August at the New York Museum of Modern Art as part of the museum’s Kravis Studio artist residency program. “West’s uncanny, Rube Goldberg-esque dances have made her one of the stars of the city’s experimental dance scene,” writes Madeleine Seidel for ArtNews. “[Jawbreaker] is a near-perfect distillation of what makes West one of America’s most exciting choreographers: kinetic movement, a hypnotic soundtrack, and props that serve as objects for the dancers to work against.” West, who studied sculpture at Bard’s Milton Avery School of the Arts, says her time in Bard’s sculpture program influenced her dance practice. “I’ve learned how to make dances from a sculptural approach in terms of material, scale, and time,” she told ArtNews.

Bard’s MFA Program is a two-year multidisciplinary program focused on individual process and work in progress, as each student confronts the conceptual and practical questions at the core of all artistic production. Each MFA candidate chooses a primary field: Moving Image, Music/Sound, Painting, Photography, Sculpture, or Writing.
 
https://www.artnews.com/art-in-america/columns/alexa-west-dance-labor-1234796295/

Bard College’s Acting President Jonathan Becker appeared on the SpeechMatters podcast to discuss the ongoing struggle for youth voting rights in the United States. SpeechMatters is a project of the University of California’s National Center for Free Speech and Civic Engagement, and features guests who are tackling the issues of free speech and democracy on college campuses. Becker was joined by host Michelle Deutchman, as well as Yael Bromburg, adjunct professor of law at the American University Washington College of Law. They addressed a range of issues, including the history of youth voting and on-campus voting, the civic impacts of student voting, and the structural and psychological challenges to broader enfranchisement of young people. Becker argued that institutions of learning should not be neutral, but explicitly and forcefully in favor of student voting. “Young people are the future of our democracy, and would we rather have engaged citizens, or passive citizens who are not involved in our democracy?" he said. "I think if you believe in civic participation, then you believe in young people voting.”

Becker, who coedited a recent book about youth voting rights, also spoke of his volunteer teaching experience in Kiev, Ukraine, following the fall of the Berlin Wall, and his dismay upon returning to New York's Hudson Valley to discover efforts by local officials to limit youth voting. “Having promoted democracy abroad, I discovered that our students here were systematically denied the right to vote locally,” he said. “As someone who spent half of their life abroad, the idea that we should be promoting democracy abroad, and coming home and some local official in Dutchess county is systematically denying students the right to vote is…outrageous.”
https://podcasts.apple.com/us/podcast/speechmatters/id1617830292

Bard College has been ranked in the top five of the Princeton Review’s 2026 list of colleges and universities for positive student sentiment about faculty. The “Professors Get High Marks” ranking is based on how strongly students at a school agree or disagree with the statement, "Professors are interesting and bring their material to life." Members of the Bard faculty include Guggenheim, Pulitzer, and McArthur Genius Grant award winners. They have written critically acclaimed novels and plays, and effected change in medicine, the arts and letters, international affairs, journalism, scientific research, education, and more. Bard has no graduate teaching assistants, and the average class sizes of 16 in the Lower College and 12 in the Upper College allows for intimate discussions and one-on-one interaction between faculty and students.
 
https://www.princetonreview.com/college-rankings/?rankings=professors-get-high-marks

Concerts and Discussions Celebrating the 250th Anniversary of America at Carnegie Hall, Jazz at Lincoln Center, Bard College, Tempo Performing Arts Center, and Asia Society

The US–China Music Institute at Bard College Conservatory announces the launch of the ninth annual China Now Music Festival, taking place in New York City, Kingston, and at Bard College from October 2–11, 2026 to celebrate the 250th anniversary of America and the evolution of the American Dream.

This year’s festival “Chasing Dreams” reminds us that the pursuit of dreams is a shared human experience that connects all people. Artistic director of the China Now Music Festival, Jindong Cai, emphasizes the power of music in sustaining hope and preserving historical memory as we navigate turbulent times. He says, “For this year’s festival, we aim to tell stories of the shared dreams, resilience, and creativity that connect all of us, American and Chinese alike. Through music, we can be reminded that our histories and aspirations are deeply intertwined.”

With works by an outstanding roster of contemporary Chinese-American and Chinese composers including Huang Ruo, Zhou Long, and Li Shaosheng, the festival reflects the tenacity of the human spirit through stories of creativity, perseverance, and innovation. From Maya Lin’s determination to realize a bold artistic vision, to the sacrifices of the Chinese railroad workers to build a nation, to the scientists and explorers whose ambitions continue to expand humanity’s horizons, these works celebrate the many ways dreams have shaped American history and continue to inspire future generations. Together, they embody the China Now Music Festival’s mission of fostering cross-cultural understanding through music while honoring the enduring contributions of Chinese people who have chased freedom, unity, and equality in what has historically been called the American Dream.

Led by conductor Jindong Cai, the opening night at Zankel Hall at Carnegie Hall on October 2 at 7:30 pm features a performance of renowned composer Huang Ruo and Tony-award winning librettist David Henry Hwang’s chamber opera, The Rift. The chamber opera recounts the creation of architect Maya Lin’s iconic Vietnam Veterans Memorial in Washington, D.C. Although it is now one of the most beloved and most visited memorials in the United States, the Vietnam Veterans Memorial had a deeply contentious beginning. The controversial origin of the memorial is at the heart of this story featuring interconnected yet conflicting characters: architect Maya Lin sung by soprano Karen Vuong; a Vietnam War veteran sung by tenor Edward Graves; a Vietnamese refugee sung by mezzo-soprano Michelle Mariposa; and former secretary of defense Robert McNamara sung by Daniel Klein. In an article by AsAmNews, librettist David Henry Hwang describes Maya Lin’s journey as “a story about how a work of art can help to heal a country.” That same night, the festival’s resident ensemble, the Bard East/West Ensemble, will perform three works written for the group by Zhang Zheng, Luk Wai Chun, and Wang Danhong. The core members of the ensemble are composed of a Western string quintet and seven Chinese instruments including dizi, erhu, pipa, ruan, suona, guzheng and sheng, with Chinese and Western percussionists.

For the final two concerts at Fisher Center for the Performing Arts at Bard College on October 10 at 3 pm and at Frederick P. Rose Theater at Jazz at Lincoln Center on October 11 at 3 pm, artistic director Jindong Cai conducts The Orchestra Now (TŌN), China Now Chorus, and vocal soloists, bringing to life Pulitzer-winning composer Zhou Long and librettist Sun Wei’s powerful symphonic oratorio Men of Iron and the Golden Spike. The work honors the thousands of Chinese laborers who came to America in the 1860s to build the Transcontinental Railroad that connected the US coasts and transformed the nation. Zhou Long writes, “In this divisive moment in our country, I hope this piece reminds audiences that America has always been shaped by diverse ethnic communities, and that the stories of Chinese laborers deserve their rightful place in our shared history.” This monumental work returns to the stage in New York City after its premiere during the 2019 China Now Music Festival and features a large orchestra, 120 choristers, and vocal soloists.

In the same program as the oratorio is the US premiere of Li Shaosheng’s symphonic suite Chasing the Sky which explores humanity’s enduring fascination with the skies and the journey of space exploration. The piece traces the relationship between ancient imagination, scientific discovery, and contemporary innovation. Through five interconnected movements, the work reflects on the timeless human desire to understand the universe as we push the boundaries of knowledge while remaining connected to the world we call home. The work celebrates generations of dreamers, researchers, engineers, and explorers whose curiosity and dedication have expanded our understanding of the cosmos. The performance features a suona soloist in the second movement, Questioning the Sky, and a tenor soloist Li Yi in the powerful finale. The soaring vocal lines embody the timeless spirit of discovery and humanity's shared aspiration to reach beyond the horizon.

Additional musical performances include a concert on Sunday, October 4 at 3 pm at TEMPO Performing Arts Center in Kingston and another on Friday, October 9 at 2 pm at Chapel of the Holy Innocents at Bard College. At TEMPO, the Bard East/West Ensemble will present the three pieces from the previous concert at Carnegie Hall in addition to repertoire that further showcases their innovative, cross-cultural sound. Returning home from a 2026 tour in China that took them to 8 cities for 15 performances, the Bard East/West Ensemble will perform unique arrangements of works by Aaron Copland, Astor Piazzolla, and Jiang Ying, among others. At the Chapel of the Holy Innocents, singers from the Central Conservatory of Music, Beijing, will perform Chinese and American folk songs, along with other contemporary works. 

Through opera, orchestral works, chamber music, and conversation, the 2026 China Now Music Festival reminds audiences of important moments in American history and invites the listeners to reflect on how the “American Dream” has changed over time. As the United States marks its 250th anniversary, the festival offers an opportunity to listen to music that explores the impact and contributions of Chinese people on the development of America.

US-China Music Forum:
This year, on October 3rd at 3:00PM, alongside Asia Society, the China Now Music Festival will co-host the US-China Music Forum: Chasing Dreams, followed by a reception. The forum features live solo performances of excerpts from Huang Ruo and David Henry Hwang’s The Rift and Zhou Long and Su Wei’s Men of Iron and the Golden Spike, as well as a panel discussion. The creators and performers behind The Rift and the Men of Iron and the Golden Spike will discuss how music captures the emotion and power of history, what the “American Dream” means to them, and how they envision music and performance illuminating stories that have been neglected. The discussion will be followed with a Q&A.

For more information on the festival, visit https://www.barduschinamusic.org/chasing-dreams
https://www.barduschinamusic.org/chasing-dreams

The Galloping Cure, an opera by Missy Mazzoli, composer in residence at the Bard College Conservatory of Music, was featured on the BBC’s Radio 4: Front Row. A collaboration between Mazzoli and author and Bard Fiction Prize winner Karen Russell, The Galloping Cure is based on a short story by Russell that was inspired by Kafka’s short story “A Country Doctor.” The opera is an allegory for the opioid crisis in which a mysterious carousel cures a town of its illnesses but becomes more expensive and addictive as time passes. The Edinburgh International Festival, where the opera premiered, described it as “visually stunning and emotionally gripping… [evoking] a darkly funny and devastating vision of a crumbling society.”

Mazzoli spoke with the BBC about her opera, which they describe as “sometimes elegiac, sometimes… dystopian.” “Opera is inherently multimedia [and] immersive,” Mazzoli said. Her research involved riding on and listening to carousels in Paris and Coney Island in New York, to “make the audience feel like they were on a carousel [by] recreating this doppler effect.” Although The Galloping Cure is about a serious subject, “it’s not moralistic, it’s not dour… my goal is that people come out of it having more of a language to discuss something that’s very hard to talk about. Losing someone to addiction, it’s very hard to have the words for it. So my attempt to talk about it was to make this piece.”

The Galloping Cure premiered at the Edinburgh International Festival earlier this month. Mazzoli’s next opera Lincoln in the Bardo, which is based on the novel by George Saunders, will premiere in October at the Metropolitan Opera, the first opera by a woman to do so.
https://www.bbc.co.uk/programmes/m002zhsh

Associate Professor of Economics Michael Martell coauthored a guest opinion piece in the Bay Area Reporter about the need for more LGBTQ+ representation in economics. In his article “More LGBTQ Economists Are Needed,” written with Leanne Roncolato, Martell argues that the field needs to be challenged and tested, a solution that requires more LGBTQ+ economists in positions of authority. The two conducted interviews with 31 queer economists, which formed the basis for their book Queering Economics: Reimagining the Dismal Science, released this May. “Too few economists question the status quo. We agree far too much, because we are far too similar,” they write. “When too many of us share the same philosophy, we are less able to see our commonly held flaws and more likely to conform to prevailing philosophies.” Instead, they argue, “as we diversify who are economists, we can crowd out convention and create space for new ways of thinking and creative solutions to the problems we face.”

Bard’s Economics Program trains students to think critically about the economy and its social, political, and historical context. Small classes, encouragement of student research, and close interaction with the Levy Economics Institute are distinctive features of the experience.
https://www.ebar.com/story/168814

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.

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.
https://leadthechange.bard.edu/blog/bard-named-1-green-mba-for-the-sixth-consecutive-year-by-the-princeton-review

Tom Eccles, executive director of the Center for Curatorial Studies and the Hessel Museum of Art at Bard, was quoted in an article by the New York Times about how new proposed federal guidelines are threatening graduate arts programs. The planned future guidelines by the Education Department would require an earnings test that, according to the government’s calculations, would punish nearly half of all graduate programs in visual arts, music and performance based on the income of recent alumni. The Times reported that the new guidelines would apply to all university programs, and institutions whose alumni fail to meet them twice in three years could lose their ability to enroll students using federal loans, threatening their future in education. “They are taking a DOGE approach to education,” Eccles told Zachary Small for the Times. “They are deciding what the metric is, as though there were an objective way to measure the value of an arts education.” 

The Center for Curatorial Studies is an incubator for experimentation in exhibition-making and the leading institution dedicated exclusively to curatorial studies. It includes the Graduate Program for Curatorial Studies, an intensive course of study in the history of contemporary art, the institutions and practices of exhibition making, and the theory and criticism of contemporary art since the 1960s.
https://www.nytimes.com/2026/06/02/arts/design/education-department-earnings-salary.html

Pavlina Tcherneva, president of the Levy Economics Institute at Bard College, spoke with Marketplace about the current state of inflation in the US economy. The article notes that when the prices of groceries, gas, and rent rise faster than wages, consumers lose purchasing power, which is reflected in the current inflation numbers. “I expect that these price shocks will ripple through the economy in coming months,” said Tcherneva, who added that she does not expect wages to improve much. “Workers are going to be squeezed on both sides, stagnating wages and increasing cost of living."

The Levy Economics Institute Graduate Programs in Economic Theory and Policy were created to offer students an alternative to mainstream programs in economics and finance. These programs combine a rigorous course of study with the exceptional opportunity to participate in advanced economics research alongside Institute scholars. The Levy Institute’s programs also give Bard College undergraduates the opportunity to meet prominent figures who give seminars, attend conferences, and serve on the research staff.
 

Bard College will hold its one hundred sixty-sixth commencement on Saturday, May 23, 2026. Bard President Leon Botstein will confer 501 undergraduate degrees on the Class of 2026 and 197 graduate degrees. Bard will also confer 46 associate degrees on students from its microcolleges. The Undergraduate Degrees Commencement will begin at 2:30 pm in the commencement tent on the Seth Goldfine Memorial Rugby Field. The Graduate Degrees Commencement will begin at 10:30 am at Sosnoff Theater in the Richard B. Fisher Center for the Performing Arts.
 
The Undergraduate Commencement address will be given by journalist and bestselling author Fareed Zakaria, host of CNN’s flagship international affairs program and a prominent columnist for The Washington Post. Honorary degrees will be awarded to Fareed Zakaria, lawyer Jack Arthur Blum ’62, business owner Patricia L. Bowman, public health researcher and activist Robert E. Fullilove, philanthropist Marieluise Hessel, Bard High School Early College founding principal Raymond Peterson, historian Oliver Rathkolb, physicist Thomas F. Rosenbaum, musicologist Elaine Sisman, immunologist Kathryn E. Stein ’66, and composer Richard Wilson.

The Graduate Commencement address will be given by Thomas F. Rosenbaum, president of the California Institute of Technology. Graduate degrees conferred will be doctor of philosophy, master of philosophy, and master of arts degrees in decorative arts, design history, material culture; master of fine arts; master of science degrees in environmental policy, climate science and policy, and master of education degrees in environmental education; master of arts degrees in curatorial studies; master of arts degrees in teaching; master of music degrees in vocal arts and master of music degrees in conducting; master of business administration degrees in sustainability; master of science degrees and master of arts degrees in economic theory and policy; master of music degrees in curatorial, critical, and performance studies; master of arts degrees in global studies; master of arts degrees in human rights and the arts; master of arts degrees in Chinese music and culture; master of music degrees in instrumental studies; and master of arts degrees in public humanities.

Bard College Awards will also be presented on Commencement Weekend: The Bard Medal will be awarded to Olivia B. Carino and Audrey Lasher Smith ’78; the John and Samuel Bard Award in Medicine and Science to Amy Bernard ’91 and Matthew DeGennaro ’96; the Charles Flint Kellogg Award in Arts and Letters to Youssef Kerkour ’00; the John Dewey Award for Distinguished Public Service to Kevin Barbosa ’18 and Eva-Marie Quinones ’17; the Mary McCarthy Award to Marilynne Robinson; the Laszlo Z. Bito Award for Humanitarian Service to Imran Ahmed ’02; and a Bardian Award to Sven Anderson.

ABOUT THE COMMENCEMENT SPEAKERS

Fareed Zakaria hosts CNN’s flagship international affairs program, Fareed Zakaria GPS, and produces documentaries for the network. He has interviewed Joe Biden, Barack Obama, Emmanuel Macron, Vladimir Putin, Benjamin Netanyahu, and Recep Tayyip Erdoğan, among others.
 
Zakaria is a columnist for The Washington Post and has written five New York Times bestsellers: The Future of Freedom: Illiberal Democracy at Home and Abroad (2003), The Post-American World (2008), In Defense of a Liberal Education (2015), Ten Lessons for a Post-Pandemic World (2020), and Age of Revolutions: Progress and Backlash from 1600 to the Present (2024).
 
Zakaria was named a Top 10 Global Thinker of the Last 10 Years by Foreign Policy magazine in 2019. He has received a Peabody Award and three Emmys for his television work, and a National Magazine Award for his writing. In 2010, India awarded him the Padma Bhushan, one of the country’s highest civilian honors, and, in 2022, Ukraine awarded him the Order of Merit. He holds a BA from Yale and a PhD from Harvard.

Thomas F. Rosenbaum is the ninth president of the California Institute of Technology (Caltech) where he is also professor of physics. He is an expert on the quantum-mechanical nature of materials, and has conducted research at Bell Laboratories, INC.; the IBM Thomas J. Watson Research Center; Argonne National Laboratory; and the University of Chicago. At the last, he served as vice president for research and then as provost before moving to Caltech in 2014. He received his bachelor’s degree in physics with honors from Harvard University and a PhD in physics from Princeton University. He serves as the chair of the Board of Trustees of the Society for Science, as a board member of the Aspen Center for Physics, and on the Los Angeles Committee of the American Academy of Arts and Sciences.

On May 8, at Blithewood Manor, the Levy Economics Institute of Bard College convened its annual conference marking 40 years since the Institute’s founding. The occasion drew the kind of distinguished assembly of economists, journalists, and policymakers that Levy has become known for, united by a shared conviction that conventional economics has consistently failed to reckon with the realities facing the global economy and working Americans.
 
The keynote was delivered by William H. Janeway, distinguished affiliated professor at Cambridge, veteran venture capitalist, and cofounder of the Institute for New Economic Thinking. The connection was fitting: in 1986, Hyman Minsky—Levy senior scholar and foremost expert on financial instability—asked a young Janeway to address the American Economic Association. 40 years later, Janeway returned the gesture, opening a conference devoted to Minsky’s enduring relevance.
 
The event’s panels brought together leading voices that have long defined Levy Institute conferences. Former FDIC chairwoman Sheila Bair joined Bloomberg’s Tom Keene in conversation on the next financial crisis. John Cassidy of the New Yorker moderated the opening session on AI and the US economy. Isabella Weber of UMass Amherst and James Galbraith of the LBJ School discussed the global energy crisis and China’s domestic price stabilization policies. Finally, Levy Institute President Tcherneva spoke alongside Darrick Hamilton, chief economist of the AFL-CIO and economic adviser to NYC mayor Zohran Mamdani, on employment and economic security.
 
“The inescapable reality — the single most defining feature of our economy — is that it no longer works for most Americans,” Tcherneva said. “Everything else follows from this.” 
 
Tcherneva’s opening address was both retrospective and strategic. She traced four decades of the Institute’s real-world impact: predicting the private-sector debt bubble, calling the 2008 housing collapse before it arrived, and anticipating the doubling of central bank balance sheets. Since then, Levy has become a go-to source on financial instability and monetary policy, its influence reaching from the US Congress and European Parliament to the highest levels of the Chinese government, shaping legislation, stabilization policy in Greece, and methodological work by the US Bureau of Labor Statistics and international statistical agencies.
 
Looking ahead, Tcherneva identified two research and policy priorities: economic security for American families and the financial architecture on which that security depends. “Finance must be checked and economic security must be built — those are the twin pillars of Levy’s agenda.” she said. She sounded an alarm on GENIUS/STABLE coin legislation, anticipated a paradigm shift under incoming Fed Chair Warsh, and called for a fundamental rethinking of the 21st-century job—encompassing paid leave, childcare, healthcare, and retirement security alongside direct job creation.
 
The conference also celebrated the Institute’s graduate program and inaugurated the Levy Alumni Impact Award, presented to Oscar Valdés Viera, Senior Economist at Americans for Financial Reform, recognized for his work on private equity’s threat to retirement accounts. 40 years on, Levy’s ideas have never been more central to economic debate — and the work of the next four decades has already begun.
 
 

Associate Dean of the College and Associate Professor Michael Sadowski was interviewed on the Teaching While Queer podcast. He and host Bryan Stanton discussed what it means to be an out queer educator and Sadowski’s research on queer youth, as well as his 2021 memoir and his debut novel Indiana Queer. “[Since the 1990s] I think the balance has shifted toward students supporting each other, even when the adults around them are going crazy [and] trying to restrict who they are,” Sadowski said. “So that's a really heartening example for me, because kids are the future.”

Sadowski teaches in the Master of Arts in Teaching Program, an intensive graduate teacher education program leading to an MA in Teaching and a New York State initial teacher certification for grades 7–12 in biology, history, English literature, mathematics, or Spanish. It requires an equal amount of advanced study in an elected academic discipline and in education courses, challenging pre-service teachers to apply the results of research and pedagogical analysis to their teaching.
https://teachingwhilequeer.org/podcast/

Works by two Bard College alumni/ae, Ei Arakawa-Nash MFA '07 and Lotus L. Kang MFA ’15, will be featured in the 2026 Venice Biennale, which will run from May 9 to November 22. Arakawa-Nash, a performance artist and member of Fac Xtra Retreat (FXR), a collective of seven LA–based Asian American artists, will represent Japan at the Biennale. He is collaborating with other FXR members on a performance project coproduced by the Getty Center and the Japanese Foundation for the Biennale’s Japan Pavilion. “Ei Arakawa-Nash and FXR bring together irreverence, generosity, and collective experimentation in ways that feel both intimate and expansive,” said Sarah Cooper, performance programs specialist at the J. Paul Getty Museum. “These performances contribute to the wider story of Asian diasporas in Greater Los Angeles … while embodying his distinctive alchemy of humor and truth that unsettles fixed roles, challenges social and institutional norms and honors the multiplicities we all hold.” Additionally, alumna Talullah Pratt ’24 was chosen as one of five electronic musicians under 30 for a residency at the Venice Biennale Musica College 2026 by curator Caterina Barbieri.

Sculptor Lotus L. Kang MFA ’15 has been commissioned to produce a major new installation for the inaugural Bulgari Pavilion at the Venice Biennale. Kang’s artistic practice utilizes sculpture, photography and site-responsive installation to communicate themes drawn from industrial and architectural forms, familial and social histories, poetry, and non-human figures. “Known for her complexly layered environments that meld organic, structural and metabolic languages, Lotus L. Kang’s works give poetic form to reflections on themes spanning inheritance, impermanence, memory, and translation,” writes ArtDaily. “Working fluidly between sculpture, photography and site-responsive installation, she frequently draws on unfixed, unstable materials and forms in her practice, giving evocative, often expansive shape to questions of ‘becoming.’” 

Bard College’s Milton Avery Graduate School of the Arts is a graduate program for interdisciplinary study in the visual and creative arts. Bard MFA takes place over two years and two months, with students in residence on campus during three consecutive summers, and two winter sessions of independent study completed off campus.  
https://www.getty.edu/news/getty-and-japan-pavilion-debut-new-performance-project-with-ei-arakawa-nash-and-fac-xtra-retreat-fxr-/

A dual opera performance featuring Gian Carlo Menotti’s Amelia Goes to the Ball and Giacomo Puccini’s Gianni Schicchi, performed by the Bard College Conservatory of Music and Graduate Vocal Arts Program, was reviewed in the Millbrook Independent. “This production was both local treat and professional declaration,” writes Kevin McEneaney, adding that “The audience responded with vivid acclamation.” Menotti’s opera relays the story of an Italian socialite’s navigation of hurdles to attend the season’s first ball, while Puccini’s Gianni Schicchi transforms a Dantean tale of fraud into a masterclass of operatic irony and memorable motifs. “The chorus sang with probing, elevated emotion and remarkably tight harmony,” continued McEneaney. “Both witty operettas celebrate skillful women in a male-dominated society.”
https://themillbrookindependent.com/operetta-with-a-smile-at-bard-sosnoff/