Federal Reserve Bank of Chicago President Charles Evans Plays Down the Risk of Higher Inflation at the Levy Institute’s 29th Annual Hyman P. Minsky Conference
“‘I think the risk of this scenario is remote,’ Evans said Wednesday during a virtual conference hosted by the Levy Economics Institute of Bard College,” reports Bloomberg. “The Chicago Fed chief, who has long been one of the central bank’s biggest worriers about inflation being too low, was responding to critics of the Biden administration’s fiscal programs, which include not only Republicans but also some economists associated with the Democratic party.”
Bard Graduate Programs in the News
Bard College will hold its one hundred sixty-first commencement on Saturday, May 29, 2021. Bard President Leon Botstein will confer 398 undergraduate degrees on the Class of 2021 and 136 graduate degrees, including master of fine arts; doctor and master of philosophy and master of arts in decorative arts, design history, and material culture; master of science and master of arts in economic theory and policy; master of business administration in sustainability; master of arts in teaching; master of arts in curatorial studies; master of science in environmental policy and in climate science and policy; master of music in vocal arts and in conducting; master of music in curatorial, critical, and performance studies; and master of education in environmental education. The program, which begins at 2:30 p.m. in the commencement tent on the Seth Goldfine Memorial Rugby Field, will be in-person for graduating students only, in accordance with NY State health and safety guidelines, and will be livestreamed for family and friends. It is closed to the public.
The Commencement address will be given by former Open Society Foundations President Patrick Gaspard, who will receive an honorary doctorate of humane letters. Honorary degrees will also be awarded to dance therapy pioneer Miriam Roskin Berger ’56, economist William A. Darity Jr., climate scientist Michael E. Mann, actress Audra McDonald, Reverend Vivian D. Nixon, physician Siddhartha Mukherjee, and novelist Elif Shafak.
Other events taking place during Commencement Weekend include Bard College award ceremonies. The Bard Medal will be presented to Charles S. Johnson III ’70; the John and Samuel Bard Award in Medicine and Science to Brianna Norton ’00; the Charles Flint Kellogg Award in Arts and Letters to Paul Chan MFA ’03; the John Dewey Award for Distinguished Public Service to Nsikan Akpan ’06; the Mary McCarthy Award to Claudia Rankine; and the Bardian Award to Peggy Florin, Medrie MacPhee, and Amie McEvoy.
ABOUT THE COMMENCEMENT SPEAKERPatrick Gaspard is former president of the Open Society Foundations (OSF). During his three-year tenure, he confronted significant threats to open societies around the globe, including the rise of authoritarian regimes and the spread of the COVID-19 virus worldwide. Gaspard conceptualized and stewarded Open Society’s contribution of $220 million in grants to build power in Black communities, and $200 million in global investments that included support for essential workers and other communities hit hard by COVID-19. Prior to leading OSF from 2018 through 2020, Gaspard was a key figure in President Barack Obama’s administration and held a number of prominent positions during Obama’s two terms in office.
Gaspard was born in Kinshasa, Democratic Republic of Congo, in 1967 to Haitian parents. He grew up in New York City and had a long career there in electoral and campaign politics. After attending Columbia University, he joined Jesse Jackson’s 1988 presidential campaign, then worked on David Dinkins’s successful bid to become the first African American mayor of New York City. Gaspard served as national deputy field director for Howard Dean’s presidential campaign in 2003–4 before returning to labor organizing, where he rose to become executive vice president and political director of the 1199 branch of the Service Employees International Union, one of the largest unions in the United States.
In 2008, Gaspard joined Obama’s presidential campaign, serving as national political director. Following the inauguration, Gaspard transitioned to direct the White House Office of Political Affairs from 2009 to 2011. Thereafter, he served as executive director of the Democratic National Committee from 2011 to 2013, overseeing efforts to reelect Obama. Gaspard was subsequently appointed U.S. ambassador to South Africa, and served in this capacity from 2013 to 2016.
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The John Simon Guggenheim Memorial Foundation has awarded five Bard faculty and Bard MFA faculty and graduates 2021 Guggenheim Fellowships. Bard Assistant Professor of Film and Electronic Arts Ephraim Asili MFA ’11, Bard MFA faculty Roberto Tejada and A.K. Burns MFA ’10, and MFA graduates Luba Drozd MFA ’15 and Irene Lusztig MFA ’06 were named 2021 Guggenheim Fellows. Chosen through a rigorous review process from nearly 3,000 applicants, Asili, Tejada, Burns, Drozd, and Lusztig were among a diverse group of 184 artists, writers, scholars, and scientists to receive a 2021 Fellowship.
“We are delighted and impressed that so many Bard MFA alums and faculty have been named 2021 Guggenheim Fellows,” said Hannah Barrett, director of the Milton Avery Graduate School of the Arts. “The Milton Avery School for the Arts wishes to congratulate these faculty and alumni on their 2021 Guggenheim awards. Their recognition is richly deserved and we will follow their careers with pride and admiration.”
“As an experimental filmmaker, our colleague Ephraim Asili has won critical acclaim for The Diaspora Suite (2017), an ambitious cycle of 16 mm short films, and most recently his feature-length The Inheritance (2020), a poetic meditation on history, politics, art, and Black liberation,” said Bard’s Dean of the College, Deirdre d’Albertis. “Asili's presence on the faculty of Bard’s Film and Electronic Arts Program represents for our students both deep continuity with Bard's storied past as a haven for artistic experimentation and a stunningly contemporary approach to documentary and narrative with full awareness of the urgency of our present moment.”
“I am thrilled to announce this new group of Guggenheim Fellows,” said Edward Hirsch, president of the Guggenheim Foundation, “especially since this has been a devastating year in so many ways. A Guggenheim Fellowship has always been meaningful, but this year we know it will be a lifeline for many of the new Fellows at a time of great hardship, a survival tool as well as a creative one. The work supported by the Fellowship will help us understand more deeply what we are enduring individually and collectively, and it is an honor for the Foundation to help them do what they were meant to do.”
Created in 1925 by Senator Simon and Olga Guggenheim in memory of their son John Simon Guggenheim, the Guggenheim Foundation has offered fellowships to exceptional individuals in pursuit of scholarship in any field of knowledge and creation in any art form, under the freest possible conditions. The great range of backgrounds, fields of study, and accomplishments of Guggenheim Fellows is a unique characteristic of the Fellowship program. In all, 49 scholarly disciplines and artistic fields, 73 different academic institutions, 28 states and two Canadian provinces are represented in this year’s class of Fellows, who range in age from 31 to 85. Close to 60 Fellows have no full-time college or university affiliation. Since its establishment in 1925, the John Simon Guggenheim Memorial Foundation has granted nearly $400 million in Fellowships to over 18,000 individuals, among whom are more than 125 Nobel laureates, members of all the national academies, winners of the Pulitzer Prize, Fields Medal, Turing Award, Bancroft Prize, National Book Award, and other internationally recognized honors. For more information on the 2021 Fellows, please visit the Foundation’s website at gf.org.
Ephraim Asili MFA ’11 is a filmmaker, artist, educator and DJ whose work focuses on the African diaspora as a cultural force. His award-winning films have screened in festivals and venues all over the world, including the Berlinale, New York Film Festival, Toronto International Film Festival, Ann Arbor Film Festival, San Francisco International Film Festival, International Film Festival Rotterdam, MoMA PS1, LAMOCA, Museum of Fine Arts, Boston, The Whitney Museum, and The Barbican Center in London. Asili's 2020 feature debut, The Inheritance, premiered at the 2020 Toronto International film festival and was recently acquired for distribution by Grasshopper Films. As a DJ, Asili has been a regular program host on WGXC, and done guest sets for NTS Radio, Afropop Worldwide, and WFMU. He also hosts a monthly dance party Botanica. Asili currently resides in Hudson, NY, and is a professor in the Film and Electronic Arts Program at Bard.
Roberto Tejada, Bard MFA writing faculty, is the author of poetry collections Full Foreground (Arizona, 2012), Exposition Park (Wesleyan, 2010), Mirrors for Gold (Krupskaya, 2006), Todo en el ahora (Libros Magenta, 2015), selected poems in Spanish translation, and a LatinX poetics of the Americas, Still Nowhere in an Empty Vastness (Noemi, 2019). He is the author of art histories that include National Camera: Photography and Mexico’s Image Environment (Minnesota, 2009), Celia Alvarez Muñoz (Minnesota, 2009), and with Michelle White and others the co-author of Allora & Calzadilla: Specters of Noon (Yale, 2021) He is the Hugh Roy and Lillie Cranz Cullen Distinguished Professor in Creative Writing and Art History at the University of Houston.
A.K. Burns MFA ’10, Bard MFA film & video faculty, is an interdisciplinary artist who views the body as a contentious domain wherein issues of gender, labor, ecology and sexuality are negotiated. Burns is currently producing Negative Space, a cycle of video-installations that take speculative fiction as a point of departure. The opening episode, A Smeary Spot (2015) debuted at Participant Inc., NY, followed by an exhibition at Portland Institute for Contemporary Art, OR, in 2016. The second in this series, titled Living Room (2017) debut at the New Museum, and was subsequently exhibited at Institute of Contemporary Art, Philadelphia in 2018. Additionally in 2018 Burns exhibited a new video work titled Survivors Remorse (2018) at the Harvard Museum and a public sculpture The Dispossessed (2018) at the FRONT International Cleveland Triennial. As a frequent collaborator and advocate for labor issues in the Arts, Burns was a founding member of W.A.G.E (Working Artists in the Great Economy) in 2008. Burns’ works can be found in public collations including the Museum of Modern Art, NY and Los Angeles County Museum of Art, CA. Burns was also a 2018 NYFA Fellow in Interdisciplinary Arts, a 2016-17 Radcliffe Fellow at Harvard University as well as a recipient of a 2015 Creative Capital Foundation Visual Arts Award.
Irene Lusztig MFA ’06 is a filmmaker, visual artist, and archival researcher. She is a professor, Film & Digital Media, and director, Center for Documentary Arts & Research (CDAR), at the University of California, Santa Cruz, Her film and video work mines old images, technologies, and objects for new meanings in order to reanimate forgotten and neglected histories. Often beginning with rigorous research in archives, her work brings historical materials into conversation with the present day, inviting viewers to explore historical spaces as a way to contemplate larger questions of politics, ideology, and the production of personal, collective, and national memories. Much of her work is centered on public feminism, language, and histories of women and women’s bodies, including her debut feature Reconstruction (2001), the feature length archival film essay The Motherhood Archives (2013), the ongoing web-based Worry Box Project (2011), and her newest performative documentary feature Yours in Sisterhood (2018). Her work has been screened around the world, including at the Berlinale, MoMA, Film Society of Lincoln Center, Museum of Fine Arts Boston, Anthology Film Archives, Pacific Film Archive, Flaherty NYC, IDFA Amsterdam, Hot Docs, AFI Docs, and RIDM Montréal, and on television in the US, Europe, and Taiwan. She has received grants from the Massachusetts Foundation for the Humanities, Massachusetts Cultural Council, LEF Foundation, New York State Council for the Arts, and Sustainable Arts Foundation and has been awarded fellowships at the MacDowell Colony, the Flaherty Film Seminar, the Radcliffe Institute for Advanced Study, and Harvard’s Film Study Center. She was the 2016-17 recipient of a Rydell Visual Arts Fellowship and a Fulbright Fellowship in Portugal.
Luba Drozd MFA ’15 is an interdisciplinary multimedia artist. She earned a BFA from Pratt Institute and an MFA from Bard College. Her films and installations articulate the absurd in the established exploitative social structures and demonstrate how the systems of control are manifested and echoed in restrictive architectural environments. Luba’s works screened at Smack Mellon, Apexart, Anthology Film Archives, the New York Video Festival at Lincoln Center and Art in General. She is a 2015 Media Arts fellow at BRIC in Brooklyn, NY. In 2020, Drozd was featured by the New York Post as “hero of the day” and highlighted in the New York Times for her work making and distributing face shields for hospital workers in the early weeks of the pandemic. Drozd is a recipient of the 2020 NYSCA/NYFA Artist Fellowship in Digital/Electronic Arts. Her two-room site specific sound, sculpture, and 3D animation installation piece, “The Aesthetic Limits of Water,” was commissioned and exhibited by the Hessel Museum in 2020.
About Bard College
Founded in 1860, Bard College is a four-year residential college of the liberal arts and sciences located 90 miles north of New York City. With the addition of the Montgomery Place estate, Bard’s campus consists of nearly 1,000 parklike acres in the Hudson River Valley. It offers bachelor of arts, bachelor of science, and bachelor of music degrees, with majors in nearly 40 academic programs; graduate degrees in 11 programs; eight early colleges; and numerous dual-degree programs nationally and internationally. Building on its 161-year history as a competitive and innovative undergraduate institution, Bard College has expanded its mission as a private institution acting in the public interest across the country and around the world to meet broader student needs and increase access to liberal arts education. The undergraduate program at our main campus in upstate New York has a reputation for scholarly excellence, a focus on the arts, and civic engagement. Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. For more information about Bard College, visit bard.edu.
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More than a year after the World Health Organization declared the Covid-19 outbreak to be a pandemic, the U.S. and European economies face historic challenges as they begin to emerge into a post-pandemic recovery. From Wednesday, May 5–Thursday, May 6, the Levy Economics Institute of Bard College will host its 29th Annual Hyman P. Minsky Conference on the State of the U.S. and World Economies as a two-day virtual conference, featuring top policymakers, economists, and analysts. Participants in the conference, “Prospects and Challenges for the US and Europe in an Emerging Post-Pandemic Recovery,” will assess, among other issues, what’s ahead for the U.S. and European economies, prospects for reforming the financial system, economic policy for the Biden administration, financial governance and regulation, and U.S. financial market instability. For information about the conference or to register, please click here.
Featured speakers include Robert Kaplan, Federal Reserve Bank of Dallas; Charles Evans, Federal Reserve Bank of Chicago; Patricia McCoy, Boston College; Kathryn Judge, Columbia University School of Law; James Paulsen, The Leuthold Group; Bruce Greenwald, Columbia Business School; Charles Goodhart, London School of Economics; Jan Hatzius, Goldman Sachs; Jason Furman, Harvard University; Frank Veneroso, Veneroso Associates; Lakshman Achuthan, Economic Cycle Research Institute (ECRI); Robert Barbera, Johns Hopkins University; Paolo Savona, CONSOB; Lex Hoogduin, University of Groningen; Michael Greenberger, University of Maryland Law School; Bruce Kasman, JP Morgan; Denis MacShane, former Europe Minister and Avisa Partners; Peter Coy, Bloomberg Businessweek; David P. Henry, Reuters; Binyamin Appelbaum, Deborah Solomon, and Jeanna Smialek, New York Times; Robert Huebscher, Advisor Perspectives; and Dimitri B. Papadimitriou, Jan Kregel, L. Randall Wray, Gennaro Zezza, and Michalis Nikiforos, Levy Institute.
The Levy Economics Institute of Bard College, founded in 1986 through the generous support of the late Bard College trustee Leon Levy, is a nonprofit, nonpartisan, public policy research organization. The Institute is independent of any political or other affiliation, and encourages diversity of opinion in the examination of economic policy issues while striving to transform ideological arguments into informed debate.
Preliminary conference program:
29th Annual Hyman P. Minsky Conference on the State of the U.S. and World EconomiesProspects and Challenges for the US and Europe in an Emerging Post-Pandemic Recovery
Wednesday, April 17
Press registrations should be made by calling Mark Primoff at 845-758-7412 or BY sending an email to email@example.com.
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Antonopoulos, director of the Gender Equality and the Economy program at the Levy Institute, and other speakers will explore what role job guarantee programs could play as Europe emerges from the historic economic turbulence of the pandemic. “The pandemic has brought into even sharper relief issues of labour market and social inequality which will have to be addressed if a new and sustainable socio-economic contract is to be agreed and lead the necessary economic and societal transformations,” writes ETUI.
On Thursday, April 29, the Bard Written Arts Program and Oblong Books present award-winning author Michael Sadowski, Bard faculty member and Interim Dean of Graduate Studies, talking about his new book, Men I’ve Never Been: A Memoir, in a virtual conversation with New York Times bestselling author Domenica Ruta. The event is free and takes place at 7 p.m. For more information and to register for the event, please click here.
Released in spring 2021 as part of the Living Out series by the University of Wisconsin Press, Men I’ve Never Been was shortlisted pre-publication for the William Faulkner–William Wisdom Award for Nonfiction. According to the publisher:
Men I’ve Never Been recounts Sadowski’s odyssey as a boy who shuns his own identity—and, ultimately, his sexual orientation—in order to become who he thinks he’s supposed to be. Beginning with the memory of a four-year-old sitting in a dingy dive bar, sounding out newspaper headlines while his father wins free drinks from onlookers, each chapter highlights a different image of manhood that Sadowski saw at home, at school, or on television—from sports heroes, hunters, and game show hosts to his charismatic but hard-drinking father. As he learns not to talk, laugh, cry, or love, he retreats further behind a stoic mask of silence—outwardly well-functioning but emotionally isolated, sinking under the weight of the past.
Domenica Ruta is the author of the celebrated New York Times bestselling memoir With or Without You and the novel Last Day.
Michael Sadowski is the author of the acclaimed books In a Queer Voice, Safe Is Not Enough, and Adolescents at School. He is Bard Interim Dean of Graduate Studies and also serves as Director of Inclusive Pedagogy and Curriculum in the Dean’s Office and Associate Professor in the Master of Arts in Teaching Program. He teaches courses in youth identity development in the MAT program and LGBTQ+ issues in U.S. education in the Human Rights Program. In addition to Bard, Michael has been an instructor at the Harvard Graduate School of Education, where he completed his doctorate, and was a visiting professor at Stanford University in 2016-17.
Sadowski has published extensively on the issues affecting LGBTQ+ students, immigrant students, and adolescents more broadly. His 2016 book Safe Is Not Enough was featured by NPR and was cited by GLSEN founder Kevin Jennings as “the most important book written on LGBTQ issues in education in my lifetime.” His other books include In a Queer Voice: Journeys of Resilience from Adolescence to Adulthood (Temple University Press, 2013), based on a seven-year longitudinal interview study, Portraits of Promise: Voices of Successful Immigrant Students (Harvard Education Press, 2013), and the edited volume Adolescents at School (Harvard Education Press, 2020), now in its third edition and used in teacher education programs around the country and abroad. He also is the editor of the Youth Development and Education book series for Harvard Education Press and was editor of the Harvard Education Letter, for which he won a National Press Club Award. He is currently at work on his first novel.
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The OSUN Center for Human Rights and the Arts at Bard College has announced the launch of a pioneering master of arts program in human rights and the arts, and looks forward to welcoming the inaugural class in fall 2021. Designed by the Center’s core faculty team of Tania El Khoury, Thomas Keenan, Gideon Lester, and Ziad Abu-Rish, the interdisciplinary program will bring together scholars, artists, and activists from around the world to explore the productive and contentious relation between the arts and struggles for truth and justice. The program expands the curricular and extracurricular elements of the OSUN Center, directed by El Khoury.
The Center has set a May 1 priority application deadline and a June 15 final deadline. Ample need-based financial aid is available to cover tuition and other expenses. The following information sessions will be open to the public and prospective applicants (please register by emailing firstname.lastname@example.org with full name and intended session to receive a Zoom link).
“Flatwing represents years of research, producing an examination of the adaptive choreography of survival in a poetic environment of light, color, sound, and space. Investigating the tensions between art and science, this multi-sensory installation, immersing us in the hidden world of the rainforest, speaks to the ethical imperatives innate in Madeline’s practice,” said Chrissie Iles, the Whitney’s Anne & Joel Ehrenkranz Curator, who co-organized the exhibition, which is on view through August 8.
This spring, the Center for Curatorial Studies, Bard College (CCS Bard) presents thirteen exhibitions and projects featuring more than forty emerging and established contemporary artists and art movements organized by the graduating class of the master of arts curatorial studies program. On view at the Center for Curatorial Studies from April 3 through May 30, 2021, each project was developed over a period of study that was splintered by the events of the past year, and implicitly bear some trace of this moment. Comprising solo and group exhibitions, digital initiatives, and performance, the projects range in methods and subject matter, from mourning, environmental precarity, isolation, and decentralized learning, to accessibility and healing.
The thesis exhibition is a core component of CCS Bard’s graduate program, which grants each graduating student the opportunity to mine the Marieluise Hessel Collection of Contemporary Art, CCS Bard’s foundational collection of more than 3,000 objects; conduct original research into emerging artists’ practices, guided by research in CCS Bard’s extensive archives; and mount individual exhibitions and projects within the Hessel Museum of Art and CCS Bard Galleries. Past student-curated exhibitions have served as springboards for artists in the earliest stages of their careers and as the basis for ongoing curatorial investigations by CCS Bard graduates at other leading museums, galleries, and arts organizations around the world.
“The ingenuity and intellectual rigor that suffuses each of these projects is reflected in the range of issues, ideas and methodologies that each curator has explored,” said Lauren Cornell, Director of the Graduate Program and Chief Curator at the Center for Curatorial Studies, Bard College. Added Tom Eccles, Executive Director of the Center for Curatorial Studies, Bard College and Founding Director of the Hessel Museum of Art, “Viewed together, the thesis exhibitions provide the public with a rich opportunity to explore the trends and new research being chartered by the next generation of leading voices in the field.”
Currently closed to the general public, the Hessel Museum will be re-opening with the thesis exhibitions on April 3, 2021, and will be available to visit Thursday through Sunday, 12pm – 5pm, by advance reservation only. For a full overview of our health and safety protocols, please click here; to reserve and confirm your timed tickets please click here. All other campus facilities are closed to the public, so please restrict your visit to CCS Bard.
CCS BARD GRADUATE STUDENT CURATORIAL STATEMENTS
Following is an overview of the 2021 Graduate Student Exhibitions and Projects, organized alphabetically by curator’s last name. Full curatorial statements are linked in the exhibition names below.
Tammie Rubin: Tell them I won’t be long
Curated by Krista Alba
Investigating the subject of grief on both personal and collective levels, this solo exhibition brings together sculptural works by Tammie Rubin made over a decade ago with a newly commissioned installation.
While the Underground Flickers
Curated by Caitlin Chaisson
This group exhibition featuring moving image and sculpture by Bonnie Devine, Wally Dion, and Sandra Lahire addresses the social, environmental, and technopolitical consequences of radioactive uranium mining in North America.
Haze — Hong Kong’s Water Revolution in Contemporary Art and Culture
Curated by Yihsuan Chiu
Conceived as a single-issue online publication, Haze explores the representation of Hong Kong’s Water Revolution in art and culture over the past three years. With a focus on the methods and ethics of representation, the publication invites activists, artists, curators, and researchers to share their experiences as protesters and, through their creative practices, to expand the meanings of resistance.
Kate Millett: Terminal Piece
Curated by Jenni Crain
Restaging Kate Millett’s installation Terminal Piece for the first time since its initial exhibition at the Women’s Interart Center, New York, in 1972, this exhibition examines the importance of this work within her practice as both an artist and a writer, as it dramatizes Millett’s contestation of oppressive cultural structures that punish those who deviate from norms.
Curated by Paulina Ascencio Fuentes
Uxmal-on-Hudson follows the travels of a collection of Mayan sculptures and stelae from Mexico to the United States in the nineteenth century, focusing on the period that these objects spent on Cruger Island, adjacent to Bard College. The exhibition features newly commissioned work by artist Claudia Peña Salinas which renders visible what exists on the margins of the accounts of the explorers, the guardian-collector, and the ethnographic museum.
Curated by Natasha Matteson
Drawn from the Marieluise Hessel Collection, and accompanied by a pair of public programs, Criteria considers curatorial decision-making through the framework of algorithmic selection, artificial intelligence, and novel applications of emergent digital technologies in the museum sphere.
Castiel Vitorino Brasileiro: Eclipse
Curated by Bernardo Mosqueira
The first work by Brazilian artist Castiel Vitorino Brasileiro to be exhibited in the US, this newly commissioned immersive installation uses spiritually active materials—such as soil, salt, charcoal, cloth, stone, water, and light—to form a mandala whose shape references the spiral movement of time and the artist’s own original approach to matters of healing and decoloniality.
Curated by Christine Nyce
Artists Lauren Burrow, Allison Janae Hamilton, and Kate Newby each address environmental precarity by transforming accumulations of salvaged debris into site-specific sculptural works of art. This group exhibition reveals how these found-object sculptures visualize the larger flows of extraction, production, and pollution that otherwise go unnoticed.
Curated by Camila Palomino
In this immersive solo exhibition, artist Rose Salane presents intercepted materials scraped from the liquidation sale of the iconic and now defunct department store Century 21 to stage a meditation on how vision and memory are technologically mediated and registered.
Yacht Metaphor: The Collected Works of @CoryInTheAbyss
Curated by Georgie Payne
This browser-based exhibition explores the work of American artist, poet, and meme creator Jenson Leonard, showcasing a selection of internet memes created between 2015 and 2021 under the artist’s online alias @CoryInTheAbyss. Through a custom-made website, the exhibition invites viewers to engage with these memes both as a form of contemporary net art and as an alternative educational tool.
Cripping Curatorial Studies
Curated by Allie/A.L. Rickard
Engaging members of the community at CCS Bard in practicing accessibility in a way that supports justice, interdependence, liberation, and intimacy, Cripping Curatorial Studies (CCS) unfolds as ongoing interventions and interferences into the graduate program, the Hessel Museum of Art, and the culture and community of CCS Bard.
Curated by Candice Strongwater
Classroom Arsenal explores how the relationship between educational and technological structures in our own vexed moment emerged from the Cold War anxieties of the postwar period. Through historical archives, an immersive video installation by artist Shawn Maximo (b. 1975), and a series of photographs by Erich Hartmann (1922-1999), the exhibition aims to question what is at stake in our reliance on corporate enterprises that mediate learning and pedagogical efficacy.
of things not seen
Curated by Gee Wesley
Through a set of installations and workshops by artists Jeremy Toussaint-Baptiste, Kameelah Janan Rasheed, and Steffani Jemison, of things not seen explores the relationship between Blackness, bodily practice, and the limits of the archive. The project addresses the capacity for embodied knowledge—including movement, spoken language, and memory—to archive and restore otherwise absent accounts of Black life.
The student-curated exhibitions and projects at CCS Bard are part of the requirements for the master of arts degree, and are made possible with the support from the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Audrey and Sydney Irmas Charitable Foundation; the Lucky One Foundation; the Robert Mapplethorpe Foundation; the Board of Governors of the Center for Curatorial Studies; the CCS Bard Arts Council; and by the Center’s Patrons, Supporters, and Friends. Additional Support was given to select exhibitions by the Open Society University Network (OSUN) and its Center for Human Rights and the Arts.
ABOUT THE CENTER FOR CURATORIAL STUDIES, BARD COLLEGE
The Center for Curatorial Studies, Bard College (CCS Bard) is the leading international graduate program dedicated exclusively to curatorial studies, a field exploring the historical, intellectual, and social conditions that inform exhibition-making. With the Marieluise Hessel Collection of Contemporary Art at its core, alongside extensive and growing library and archival holdings, CCS Bard has served as an incubator for the most experimental and innovative practices in artistic and curatorial practice since its founding in 1990. Through its rigorous, interdisciplinary program and unmatched resources, CCS Bard provides unparalleled opportunities for students to research and organize museum exhibitions on an independent basis, and in so doing acts as a key platform for the next generation of curators, artists, and art world leaders in the earliest stages of their careers.
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Featuring Exhibitions of Emerging Artists and Underexplored Movements, Major New Publications, and Conversations Examining Pressing Issues in Contemporary Art, Season Includes:
The Center for Curatorial Studies, Bard College (CCS Bard) today announced its 30th anniversary season of programming, including new scholarship and significant exhibitions drawn from the Marieluise Hessel Collection of Contemporary Art, solo and group exhibitions of emerging artists and underexplored art movements, and gatherings investigating critical topics in contemporary curatorial practice including the future of collecting and Black exhibition histories. Running from spring through fall 2021, CCS Bard’s 30th anniversary year of programming reflects the multifaced work of a pioneering institution dedicated to transforming the curatorial field.
Established in 1990, CCS Bard is an incubator for experimentation in exhibition-making and the leading institution dedicated exclusively to curatorial studies—a discipline exploring the historical, intellectual, and social conditions that inform curatorial practice and exhibition-making. Throughout its 30-year history, CCS Bard has actively recruited perspectives underrepresented in contemporary art discourse and cultivated a student body representing a diverse spectrum of backgrounds in an effort to transform the curatorial field. CCS Bard provides unparalleled resources to its student body to support their studies, including the Marieluise Hessel Collection of Contemporary Art, comprised of more than 3,000 objects collected contemporaneously from the 1960s to the present day; CCS Bard’s exceptional archive of exhibition histories, curatorial papers, and rare catalogues; and the Hessel Museum of Art, a 17,000-square-foot facility that is home to the Hessel Collection as well as exhibitions curated by CCS Bard faculty, students, and guest curators from around the world. CCS Bard’s 30th anniversary year of programming builds on these resources and history to examine the latest ideas in contemporary art and curatorial practice.
A highlight of the year will be a series of celebratory events, currently planned for June 2021, that will honor Marieluise Hessel by bringing together CCS Bard alumni, artists, and other leading practitioners from across the field to explore the most urgent ideas in contemporary art.
“CCS Bard formed at a crucial time in the development of curatorial studies as a field and our program has striven throughout this time to anticipate and embrace cutting-edge ideas through its exhibitions, collections, programs, and curriculum,” said Tom Eccles, Executive Director of the Center for Curatorial Studies, Bard College and Founding Director of the Hessel Museum of Art. “Our position as a critical platform in the contemporary arts dialogue is due in no small part to the original vision and continued support of Marieluise Hessel, who remains an integral force in our community through her generosity and commitment to our program. It is only fitting that we mark CCS Bard’s 30th anniversary with exhibitions, programs, and a catalogue that honor Marieluise’s incomparable impact.”
“Our 30th anniversary has inspired us to reflect upon the incredible resources Marieluise has provided to CCS Bard,” added Lauren Cornell, Director of the Graduate Program and Chief Curator at the Center for Curatorial Studies, Bard College. “Marieluise’s incredible generosity and vision has allowed for the creation of a learning environment for curators like no other. Working with the Collection, Library and Archives, and with a luminary faculty, our graduate students are encouraged to rethink the curatorial field and to advance it through critical research and inventive exhibitions that chart new narratives in art and culture.”
More information on CCS Bard’s 30th anniversary year of programming follows below.
2021 Graduate Student Exhibitions and Projects
CCS Bard Galleries and Hessel Museum of Art
April 3 – May 30, 2021
As a core component of CCS Bard’s program, second-year students explore the Hessel Collection and conduct original research into emerging artists’ practices to mount individual exhibitions, while the first-year class works collaboratively to develop a single exhibition mining new aspects of the Hessel Collection. Often a platform for significant artists in the earliest stages of their careers, second-year thesis exhibitions in spring 2021 include the first-ever solo exhibition of young Brazilian artist Castiel Vitorino Brasileiro; an exhibition exploring the intersection of education and technology that provides a prehistory to our current moment of Zoom education; and a group show of performances by Jeremy Toussaint-Baptiste, Kameelah Janan Rasheed, and Steffani Jemison. The range of artists, movements, and themes explored in these thirteen individual exhibitions reflect the diverse backgrounds and perspectives represented by CCS Bard’s student body, and continue CCS Bard’s commitment to providing a platform for underrepresented voices to transform the curatorial field.
The Marieluise Hessel Collection Volumes I & II
Publication date: April 2021
The first comprehensive catalog of CCS Bard co-founder Marieluise Hessel’s expansive and eclectic collection, this two-volume publication chronicles Hessel’s work collecting from artists and galleries from the 1960s through the present day while simultaneously charting the development of CCS Bard with the Hessel Collection at its core. The Marieluise Hessel Collection Volumes I & II examines the impact of Hessel’s collection—singular for both the range and eclecticism of its holdings as well as its position at the core of a curatorial studies graduate program—through essays by nearly fifty CCS Bard alumni including Cecilia Alemani, Ruba Katrib, Sohrab Mohebbi, Zeynep Öz, and Serubiri Moses, among others, in a fully illustrated, two-volume publication designed by Zak Group.
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Closer to Life: Drawings and Works on Paper in the Marieluise Hessel Collection
CCS Bard Galleries
June 26 – October 17, 2021
Closer to Life is an exhibition of over 75 drawings and works on paper that span more than four decades of collecting by philanthropist Marieluise Hessel, who co-founded the Center for Curatorial Studies in 1990. As a reflection of Hessel’s expansive collection and the geographic trajectory of her life, from early years in post-war Germany to residence in Mexico City and on to New York City and the United States in the late ‘80s and early ‘90s, the exhibition is organized around these three spheres of influence that characterize the collection from origins to the present day, with works from a diverse range of artists including Cecily Brown, Nicole Eisenman, Rashid Johnson, Arnulf Rainer, Nancy Spero, Rosemarie Trockel, Germán Venegas and Kara Walker. In addition to drawings and works on paper, the exhibition also includes a large selection of archival materials and ephemera such as rare artist books, prints, editions, and correspondence drawn from CCS Bard’s extensive archives. Revisiting different artistic periods and contexts, the exhibition draws out contrasts and comparisons between artists, modes of representation, and the continuing vitality of drawing and paper as an artistic medium.
Closer to Life is curated by Tom Eccles and Amy Zion. The exhibition is accompanied by a fully illustrated, 380-page catalogue of the Marieluise Hessel collection of works on paper, edited by Tom Eccles and Amy Zion with contributions by Paul Chan, Lynne Cooke, Gabriela Jauregui, and Michael Newman. The catalogue is published by Center for Curatorial Studies, Bard College and designed by Zak Group.
With Pleasure: Pattern and Decoration in American Art 1972–1985
Hessel Museum of Art
June 26 – November 28, 2021
The first full-scale scholarly North American survey of the groundbreaking yet understudied Pattern and Decoration art movement, the exhibition spans the years 1972 to 1985 and features forty-five artists from across the United States working in painting, sculpture, collage, ceramics, textiles, installation art, and performance documentation. Originally on view at MOCA Grand Avenue from October 2019 through May 2020, With Pleasure examines the movement’s defiant embrace of forms traditionally coded as feminine, domestic, ornamental, or craft-based and their significant influence on post-war American art.
Often described as the first contemporary art movement comprised of majority female artists, Pattern and Decoration defied the dominance of modernist art by embracing the much-maligned category of the decorative. Working across mediums that evoke a pluralistic array of sources—from Islamic architectural ornamentation to American quilts, wallpaper design, Persian carpets, and Japanese Imari ware ceramics—artists consciously rejected the aesthetics of minimalism, modernist ambitions to purity and self-reflexivity, and conceptual art’s demotion of the handmade. Artists featured in the exhibition include Sam Gilliam, Joyce Kozloff, Robert Kushner, Ree Morton, Judy Pfaff, Faith Ringgold, and Miriam Schapiro, among others.
With Pleasure: Pattern and Decoration in American Art 1972–1985 is organized by MOCA Curator Anna Katz with Assistant Curator Rebecca Lowery. The accompanying 328-page exhibition catalogue is edited by Anna Katz and features seven newly commissioned essays by Katz, Elissa Auther, Alex Kitnick, Rebecca Skafsgaard Lowery, Kayleigh Perkov, Sarah-Neel Smith, and Hamza Walker, as well as artist biographies, a bibliography, an exhibition history, and reprints of historically significant writings. Designed by Green Dragon Office, the catalogue is published by MOCA, in association with Yale University Press.
Reshaping the Field: Arts of the African Diasporas on Display
Conference to be held November 2021 at CCS Bard
The latest milestone in CCS Bard’s Black Exhibition Histories initiative—which was launched in 2019 to collect understudied archives of influential Black scholars, curators, gallerists, and artists—this scholarly conference aims to expand the field of exhibition histories by exploring a selection of pioneering exhibitions that have shaped contemporary understanding of Black art. Curated by CCS Bard Senior Academic Advisor and Luma Foundation Fellow Nana Adusei-Poku, Reshaping the Field is the first of its kind to focus exclusively on exhibitions of African diasporic art presented in the United States and the U.K., and features panelists including Bridget Cooks, Richard Powell, Cheryl Finley, Jamaal B. Sheats, Lucy Steeds, and Languid Hands (Imani Robinson and Rabz Lansiquot), among many others. Bringing together these and other art historians, curators, and artists who have researched or borne witness to these historic events, CCS Bard’s convening will be an opportunity to gather knowledge that bridges art historical research and oral history while also generating new primary sources.
About the Center for Curatorial Studies, Bard College
The Center for Curatorial Studies, Bard College (CCS Bard) is the leading international graduate program dedicated exclusively to curatorial studies, a field exploring the historical, intellectual, and social conditions that inform exhibition-making. With the Marieluise Hessel Collection of Contemporary Art at its core, alongside extensive and growing library and archival holdings, CCS Bard has served as an incubator for the most experimental and innovative practices in artistic and curatorial practice since its founding in 1990. Through its rigorous, interdisciplinary program and unmatched resources, CCS Bard provides unparalleled opportunities for students to research and organize museum exhibitions on an independent basis, and in so doing acts as a key platform for the next generation of curators, artists, and art world leaders in the earliest stages of their careers. CCS Bard receives support from a range of public and private foundations and individuals, including major support from the Luma Foundation.
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Bard College is pleased to announce the appointment of Kobena Mercer as the Charles P. Stevenson Chair in Art History and the Humanities, a joint appointment between the Art History and Visual Culture Program in the undergraduate College, and the Center for Curatorial Studies (CCS). Mercer, who comes to Bard from Yale University, will assume his faculty position in fall 2021.
“We are delighted that Kobena Mercer has chosen to accept the Stevenson professorship,” said Bard College President Leon Botstein. “It is an honor to have as distinguished a scholar and teacher as Professor Mercer, whose wide-ranging work spanning the arts and humanities feels crucial to Bard’s mission, as a member of our undergraduate and graduate faculties.”
“I am honored beyond words to be coming to Bard, which is renowned worldwide for its interdisciplinary excellence,” said Mercer. “Not only have I found the best home for my scholarship, which cuts across Art History, Black Studies, and Cultural Studies, but I am also looking forward to collaborating with Bard’s innovative arts and humanities programs to further grow a liberal arts education that is critically responsive to the urgent questions we face today.”
“Mercer joining the faculty of the Center for Curatorial Studies, Bard College, is momentous for the graduate program. His luminary scholarship has fundamentally shaped our fields of focus and his writing is already essential to our curriculum,” said Lauren Cornell, director of the graduate program at CCS Bard. “He is one of the leading figures of Cultural Studies, Art History, and Black Studies, and it is an enormous privilege that his perspective will be available firsthand to CCS graduate students.”
Kobena Mercer teaches modern and contemporary art in the Black Atlantic, examining African American, Caribbean and Black British artists with critical methods from cultural studies. His work has significantly transformed current thinking about art and identity. Welcome to the Jungle: New Positions in Black Cultural Studies (1994), his first book, was a groundbreaking contribution to multiple fields, bringing a Black British perspective to wide-ranging cultural forms that arose from the volatile transformations of the 1980s. This collection of essays was followed by influential studies on artists including Romare Bearden, Keith Piper, Isaac Julien, and James VanDerZee. Throughout his career, Mercer’s research has illuminated the art of our time through evolving frameworks and subjects. His recent essay collection, Travel & See: Black Diaspora Art Practices since the 1980s (2016), examined artists such as John Akomfrah, Renée Green, and Kerry James Marshall, showing how Black artists contributed to art’s transformation in an age of globalization. He edited and introduced Stuart Hall’s The Fateful Triangle: Race, Ethnicity, Nation (2017), and prior to that he conceived and edited the Annotating Art’s Histories series, published by MIT, whose titles are Cosmopolitan Modernisms (2005), Discrepant Abstraction (2006), Pop Art and Vernacular Culture (2007) and Exiles, Diasporas & Strangers (2008). Over the last few years his exhibition catalogue contributions include Wilfredo Lam at Centre Pompidou, Frank Bowling at Haus der Kunst, Adrian Piper at Museum of Modern Art, New York, and Theaster Gates at Tate Liverpool. His forthcoming book is Alain Locke and the Visual Arts, published by Yale University Press in 2022.
A prolific and dedicated teacher, Mercer has taught at Yale University, New York University, University of California Santa Cruz and Goldsmiths College, University of London, where he earned his PhD. Educated in Ghana and England, he is an inaugural recipient of the Clark Prize for Excellence in Arts Writing, awarded by the Sterling and Francine Clark Art Institute in 2006.
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Bard College announced today that artist George Condo has made a significant gift supporting the arts on campus, including a new online concert series and a dedicated $400,000 fund underwriting scholarships, musical events, and exhibitions at Bard’s Conservatory of Music, The Orchestra Now, the Center for Curatorial Studies, and the Masters in Fine Art programs. Among those scholarships is the new Inclusive Excellence in Music Scholarship Program that addresses inequities in access to higher education in music.
“The Condo Concerts,” presented by the Bard College Conservatory of Music and CCS Bard, begins February 19 with a performance by violinist Leila Josefowicz, winner of the Avery Fisher Prize and a MacArthur Fellowship, and continues with recitals by The Fred Sherry Quartet on March 14 and April 18, and clarinetist Anthony McGill on May 2. Full details on upcoming performances follow below.
“During one of the most challenging times for colleges in the United States, I wanted to provide both funding and inspirational programming for students,” says Condo, whose daughter, Raphaelle, graduated from Bard in 2018. “Bard College is a place where my daughter thrived and one where the arts are central to the student experience.”
“We are grateful to George Condo for his support not only of the students at Bard, but also for underwriting these concerts and supporting the great musicians on this series, whose opportunities to perform have been so limited by the pandemic,” said Bard Conservatory Director Franks Corliss.
In establishing this fund, Condo created a special edition etching being sold through Hauser & Wirth, with all proceeds dedicated to supporting the arts at Bard. For more information on purchasing Condo’s etching, contact Cristopher Canizares at Hauser & Wirth.
About the Condo Concert Series
The first concert in the series, streaming February 19 at 8 pm, is a solo performance by the internationally renowned violinist Leila Josefowicz, winner of the Avery Fisher Prize and a MacArthur Fellowship. Her program combines a Partita by J. S. Bach with a new work by the noted conductor and composer Matthias Pintscher, La Linea Evocativa, that was composed for her in 2020 and inspired by Condo’s artwork.
For the next two concerts, streaming on March 14 and April 18, Josefowicz will perform as part of the Fred Sherry String Quartet with her renowned colleagues, violinist Jesse Mills, violist Hsin-Yun Huang, and cellist Fred Sherry, to perform string quartets by Schoenberg and Schubert, and other works to be announced.
The final concert in the series will be a recital by clarinetist Anthony McGill, who is the principal clarinet of the New York Philharmonic and a recipient of the 2020 Avery Fisher Career Prize.
The Condo Concerts Spring 2021 programs
Friday, February 19, at 8 pm
Matthias Pintscher La Linea Evocativa (2020)
Bach Partita No. 2 BWV 1004
Leila Josefowicz, violin
Sunday, March 14, at 3 pm
Schoenberg String Quartet #1, Opus 7
Fred Sherry String Quartet, with Leila Josefowicz and Jesse Mills, violins, Hsin-Yun Huang, viola, and Fred Sherry, cello.
Sunday, April 18, at 7 pm
Schubert String Quartet No. 15 in G Major
Fred Sherry String Quartet, with Leila Josefowicz and Jesse Mills, violins, Hsin-Yun Huang, viola, and Fred Sherry, cello.
Sunday, May 2, at 3 pm
Anthony McGill, clarinet
Please click here for reservations and additional program details.
About the Artists
Leila Josefowicz’s passionate advocacy of contemporary music for the violin is reflected in her diverse programs and enthusiasm for performing new works. In recognition of her outstanding achievement and excellence in music, she won the 2018 Avery Fisher Prize and was awarded a prestigious MacArthur Fellowship in 2008, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life.
Highlights of Josefowicz’s 2019/20 season include opening the London Symphony Orchestra’s season with Sir Simon Rattle and returning to San Francisco Symphony with the incoming Music Director Esa-Pekka Salonen to perform his Violin Concerto. Other engagements include concerts with Los Angeles Philharmonic, NDR Elbphilharmonie Orchester, Orchestre de la Suisse Romande, Chicago Symphony Orchestra, City of Birmingham Symphony Orchestra and the Cleveland and Philadelphia orchestras, where she will be working with conductors at the highest level, including Susanna Mälkki, Matthias Pintscher and John Adams.
A favourite of living composers, Josefowicz has premiered many concertos, including those by Colin Matthews, Steven Mackey and Esa-Pekka Salonen, all written specially for her. This season, she will perform the UK premiere of Helen Grime’s Violin Concerto with the BBC Symphony Orchestra and Dalia Stasevska. Other recent premieres include John Adams’ Scheherazade.2 (Dramatic Symphony for Violin and Orchestra) in 2015 with the New York Philharmonic and Alan Gilbert, and Luca Francesconi’s Duende – The Dark Notes in 2014 with Swedish Radio Symphony Orchestra and Susanna Mälkki. Josefowicz enjoyed a close working relationship with the late Oliver Knussen, performing various concerti, including his violin concerto, together over 30 times.
Alongside pianist John Novacek, with whom she has enjoyed a close collaboration since 1985, Josefowicz has performed recitals at world-renowned venues such as New York’s Zankel Hall, Washington DC’s Kennedy Center and London’s Wigmore Hall, as well as in Reykjavik, Chicago, San Francisco and Santa Barbara. This season, they appear together at Washington DC’s Library of Congress, New York’s Park Avenue Armory and Amherst College. She will also join Thomas Adès in recital to perform the world premiere of his new violin and piano work at Fondation Louis Vuitton in Paris and the Japanese premiere at the Tokyo Opera City Cultural Foundation.
Recent highlights include engagements with the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Washington’s National Symphony Orchestra, Tonhalle-Orchester Zürich and Boston and Finnish Radio symphony orchestras. In summer 2019, Josefowicz took part in a special collaboration between Los Angeles Philharmonic, the Royal Ballet, and Company Wayne McGregor featuring the music of composer-conductor Thomas Adès.
Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/Universal and Warner Classics and was featured on Touch Press’s acclaimed iPadapp, The Orchestra. Her latest recording, released in 2019, features Bernd Alois Zimmermann’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted byHannu Lintu. She has previously received nominations for Grammy Awards for her recordings of Scheherazade.2 with the St Louis Symphony conducted by David Robertson, and Esa-Pekka Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer.
+++Violist Hsin-Yun Huang has forged a career by performing on international concert stages, commissioning and recording new works, and nurturing young musicians. Highlights of her 2017–2018 season included performances as soloist under the batons of David Robertson, Osmo Vänskä, Xian Zhang, and Max Valdés in Beijing, Taipei, and Bogota. She is also the first solo violist to be presented in the National Performance Center of the Arts in Beijing and was featured as a faculty member with Yo-Yo Ma and his new initiative in Guangzhou. She has commissioned compositions from Steven Mackey, Shih-Hui Chen, and Poul Ruders. Her 2012 recording for Bridge Records, titled Viola Viola, won accolades from Gramophone and BBC Music Magazine. Her next recording will be the complete unaccompanied sonatas and partitas of J. S. Bach, in partnership her husband, violist Misha Amory.
Ms. Huang regularly appears at festivals, including Marlboro, Spoleto, Ravinia, Santa Fe, and Music@Menlo, among many others. Huang first came to international attention as the gold medalist in the 1988 Lionel Tertis International Viola Competition. In 1993, she was the top-prize winner in the ARD International Competition in Munich and was awarded the highly prestigious Bunkamura Orchard Hall Award. A native of Taiwan, she received degrees from the Yehudi Menuhin School, the Curtis Institute of Music, and The Juilliard School. She now serves on the faculties of Juilliard and Curtis and lives in New York City.
+++Two-time Grammy nominated violinist Jesse Mills performins music of many genres, from classical to contemporary, as well as composed and improvised music of his own. Since his concerto debut at the Ravinia Festival in Chicago, Mr. Mills has performed throughout the U.S. and Canada. He has been a soloist with the Phoenix Symphony, the Colorado Symphony, the New Jersey Symphony, the Green Bay Symphony, Juilliard Chamber Orchestra, the Denver Philharmonic, the Teatro Argentino Orchestra (in Buenos Aires, Argentina), and the Aspen Music Festival's Sinfonia Orchestra.
As a chamber musician Jesse Mills has performed throughout the U.S. and Canada, including concerts at Lincoln Center's Alice Tully Hall, Carnegie Hall, the 92nd Street Y, the Metropolitan Museum, the Kennedy Center in Washington, DC, Boston's Gardener Museum, Chicago’s Ravinia Festival, and the Marlboro Music Festival. He has also appeared at prestigious venues in Europe, such as the Barbican Centre of London, La Cité de la Musique in Paris, Amsterdam’s Royal Carré Theatre, Teatro Arcimboldi in Milan, and the Palais des Beaux Arts in Brussels. Mills is co-founder of Horszowski Trio and Duo Prism, a violin-piano duo with Rieko Aizawa, which earned 1st Prize at the Zinetti International Competition in Italy in 2006.
Mills is also known as a pioneer of contemporary works, a renowned improvisational artist, as well as a composer. He earned Grammy nominations for his performances of Arnold Schoenberg's music, released by NAXOS in 2005 and 2010. He can also be heard on the Koch, Centaur, Tzadik, Max Jazz and Verve labels for various compositions of Webern, Schoenberg, Zorn, Wuorinen, and others. As a member of the FLUX Quartet from 2001-2003, Mills performed music composed during the last 50 years, in addition to frequent world premieres. As a composer and arranger, Mills has been commissioned by venues including Columbia University’s Miller Theater, the Chamber Music Northwest festival in Portland, OR and the Bargemusic in NYC.
Jesse Mills began violin studies at the age of three. He graduated with a Bachelor of Music degree from The Juilliard School in 2001. He studied with Dorothy DeLay, Robert Mann and Itzhak Perlman. Mr. Mills lives in New York City, and he is on the faculty at Longy School of Music of Bard College and at Brooklyn College.
+++Fred Sherry has introduced audiences on five continents and all fifty United States to the music of our time for over five decades. He was a founding member of TASHI and Speculum Musicae, Artistic Director of the Chamber Music Society of Lincoln Center, and has been a member of the Group for Contemporary Music, Berio's Juilliard Ensemble and the Galimir String Quartet. He has also enjoyed a close collaboration with jazz pianist and composer Chick Corea.
Elliott Carter, Mario Davidovsky, Steve Mackey, David Rakowski, Somei Satoh, Charles Wuorinen and John Zorn have written concertos for Sherry, and he has premiered solo and chamber works dedicated to him by Milton Babbitt, Derek Bermel, Jason Eckardt, Lukas Foss, Oliver Knussen, Peter Lieberson, Donald Martino and Toru Takemitsu among others.
Fred Sherry’s vast discography encompasses a wide range of classic and modern repertoire; he has been soloist and “sideman” on hundreds of commercial and esoteric recordings. Mr. Sherry was the organizer for Robert Craft’s New York recording sessions from 1995-2012. Their longstanding collaboration produced celebrated performances of the Schoenberg Cello Concerto, all four String Quartets and the String Quartet Concerto as well as major works by Stravinsky and Webern.
Mr. Sherry's book 25 Bach Duets from the Cantatas was published by Boosey & Hawkes in 2011, the revised edition was released in 2019. C.F. Peters unveiled his treatise on contemporary string playing, A Grand Tour of Cello Technique in 2018. He is a member of the cello faculty of The Juilliard School, The Mannes School of Music and The Manhattan School of Music.
+++Clarinetist Anthony McGill is one of classical music’s most recognizable and brilliantly multifaceted figures. He serves as the principal clarinet of the New York Philharmonic — that orchestra’s first African-American principal player — and maintains a dynamic international solo and chamber music career. Hailed for his “trademark brilliance, penetrating sound and rich character” (The New York Times), as well as for his “exquisite combination of technical refinement and expressive radiance” (The Baltimore Sun), McGill also serves as an ardent advocate for helping music education reach underserved communities and for addressing issues of diversity, equity, and inclusion in classical music. He was honored to take part in the inauguration of President Barack Obama, premiering a piece written for the occasion by John Williams and performing alongside violinist Itzhak Perlman, cellist Yo-Yo Ma, and pianist Gabriela Montero.
McGill’s 2019-20 season includes the premiere of a new work by Tyshawn Sorey at the 92Y, and a special collaboration with mezzo-soprano Joyce DiDonato at Carnegie Hall. He will be a featured soloist at the Kennedy Center performing the Copland concerto at the SHIFT Festival of American Orchestras with the Jacksonville Symphony, and will also perform concertos by Copland, Mozart, and Danielpour with the Richmond, Delaware, Alabama, Reno, and San Antonio Symphonies. Additional collaborations include programs with Gloria Chien, Demarre McGill, Michael McHale, Anna Polonsky, Arnaud Sussman, and the Pacifica Quartet.
McGill appears regularly as a soloist with top orchestras around North America including the New York Philharmonic, Metropolitan Opera, Baltimore Symphony, San Diego Symphony, and Kansas City Symphony. As a chamber musician, McGill is a favorite collaborator of the Brentano, Daedalus, Guarneri, JACK, Miró, Pacifica, Shanghai, Takacs, and Tokyo Quartets, as well as Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang. He has led tours with Musicians from Marlboro and regularly performs for the Chamber Music Society of Lincoln Center and the Philadelphia Chamber Music Society. Festival appearances include Tanglewood, Marlboro, Mainly Mozart, Music@Menlo, and the Santa Fe, Seattle, and Skaneateles Chamber Music Festivals.
In January 2015, McGill recorded the Nielsen Clarinet Concerto together with Alan Gilbert and the New York Philharmonic, which was released on DaCapo Records. He also recorded an album together with his brother Demarre McGill, principal flute of the Seattle Symphony, and pianist Michael McHale; and one featuring the Mozart and Brahms Clarinet Quintet with the Pacifica Quartet that were both released by Cedille Records.
A dedicated champion of new music, in 2014, McGill premiered a new piece written for him by Richard Danielpour entitled “From the Mountaintop” that was commissioned by the New Jersey Symphony, Kansas City Symphony, and Orchestra 2001. McGill served as the 2015-16 Artist-in-Residence for WQXR and has appeared on Performance Today, MPR’s St. Paul Sunday Morning, and Mr. Roger’s Neighborhood. In 2013, McGill appeared on the NBC Nightly News and on MSNBC, in stories highlighting the McGill brothers’ inspirational story.
A graduate of the Curtis Institute of Music, McGill previously served as the principal clarinet of the Metropolitan Opera and associate principal clarinet of the Cincinnati Symphony Orchestra. In-demand as a teacher, he serves on the faculty of the Juilliard School, the Curtis Institute of Music, and Bard College’s Conservatory of Music. He also serves as the Artistic Advisor for the Music Advancement Program at the Juilliard School, on the Board of Directors for both the League of American Orchestra and the Harmony Program, and the advisory council for the InterSchool Orchestras of New York.
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Bard MFA candidate Woojae Kim writes for Canadian Art on the complex role of smell in human emotions and the natural world. “On one hand, smell is a memory. I know each smell through lived experience. On the other hand, smell is a chemical compound that triggers reactions in other organisms.” Woojae Kim is an artist living in Vancouver. His works accommodate contact between nonhuman/material intelligence and human memory. His current research is on olfactory communication.
Time-lapse photographs of airplane arrivals and departures by Bard alumnus Pete Mauney ’93 MFA ‘00 are on view through March 1 as part of A Trip Back in Time at the Quad City International Airport in Moline, Illinois. The exhibit comprises Mauney’s photographs, Drew Morton’s digital drawings of airport runways around the world, and a selection of mid-century modern artifacts. For this series, Mauney camped out in select locations for hours at a time with his camera aperture open to capture the light emitted from airplanes and stars as they moved through the night sky. Pete Mauney lives and works in Tivoli, New York. He received his BA and MFA in photography from Bard College.
The Bard MBA in Sustainability has been named the number one Best Green MBA by the Princeton Review for 2021. The Bard program also made the Top 10 list for Best MBA for Nonprofits, along with the MBA programs at Harvard, Stanford, Columbia, and Berkeley.
The Bard MBA offers a new kind of business education that combines sustainability vision and leadership training with a mastery of business fundamentals. The Princeton Review's rankings are based on surveys of administrators, students, and alumni/ae; more than 17,800 MBA students participated nationally in the survey. This is the first year the Bard MBA has been invited to participate.