News and Events

Filmmaker and Bard MFA alumnus Todd Haynes will receive the 2025 Carrosse d'Or prize at Cannes Film Festival this May. The Carrosse d'Or awards a director who has made a lasting mark on filmmaking. Past awardees include David Cronenberg, Agnès Varda, and John Carpenter. The French Directors’ Guild praised Haynes’s work: "[he has] challenged the norms and structures of cinematic representation to better question our social, racial and gender representations. It's as if all the love and violence in the world converge in [his] cinema to sweep us away in a torrent of emotions."

Haynes’s films include Velvet Goldmine, Carol, and Dark Waters. He has also executive directed several films by Kelly Reichardt, who won the Carrosse d'Or award in 2022. His first film, Poison, won the Sundance Film Festival Grand Jury Prize in 1991.

Suzanne Kite MFA ’18, aka Kite, distinguished artist in residence, assistant professor of American and Indigenous Studies, and director of the Wihanble S’a Center for Indigenous AI at Bard, was profiled in ArtForum’s Spotlight series. The profile focuses on Kite’s performance art and use of technology, particularly the piece “Pȟehíŋ kiŋ líla akhíšoke. (Her hair was heavy.)”, referred to as one of Kite’s “braid performances.” Writer Christopher Green calls Kite one of the “foremost Indigenous artists exploring the capacity of music, video, installation, and [technology] in combination with performance to examine the embodiment and visualization of contemporary Lakȟóta ways of knowing.”

The profile also explains Kite’s goal of making art for Native, Lakȟóta audiences. “Her refusal to legibly encode or concretize her scores for the mainstream destabilizes the ethnographic gaze and its desire to document, categorize, and control Indigenous culture, language, and bodies,” Green writes. Her upcoming Wičhíŋčala Šakówiŋ (Seven Little Girls), a scored performance which will be accompanied by a full orchestra, will be presented at MIT later this year.

Christine Sun Kim MFA ’13, artist and music/sound faculty member in Bard’s MFA program, was profiled in the New York Times, which covered her new survey show at the Whitney Museum of American Art. The exhibition, All Day All Night, encompasses her entire artistic output to date, featuring works that range from early 2010s performance documentation to her 2024 mural Ghost(ed) Notes, which has been recreated across multiple walls at the Whitney. Using musical notation, infographics, and language—both in her native American Sign Language (ASL) and written English—Kim’s work takes the form of drawings, videos, sculptures, and installations that often explore non-auditory, political dimensions of sound. Kim, who was born deaf, knows “how sound works, and what the expectations around it are,” she told the New York Times. “So why wouldn’t I use that in my work instead of rejecting it outright? Sound isn’t part of my life, but when I found sound art, it became really interesting to me as a medium.”

For Further Reading:

https://www.vulture.com/article/the-exhilarating-anger-of-christine-sun-kim.html

https://www.wsj.com/arts-culture/fine-art/christine-sun-kim-all-day-all-night-review-lines-of-communication-at-the-whitney-airdigital-77dacfeb

https://robbreport.com/shelter/art-collectibles/in-the-studio-with-christine-sun-kim-1236164748/
 

Ephraim Asili MFA ’11, associate professor and director of film and electronic arts, has been selected as one of 50 artists to receive a 2025 United States Artists (USA) Fellowship. Each year, individual artists and collaboratives are anonymously nominated to apply by a geographically diverse and rotating group of artists, scholars, critics, producers, curators, and other arts professionals. USA Fellowships are annual $50,000 unrestricted awards recognizing the most compelling artists working and living in the United States, in all disciplines, at every stage of their career. 

“My approach to filmmaking is both hybrid and experimental. My films often alternate between essayistic or observational documentary form, narrative fiction, and self-reflexive gestures which foreground how the film medium itself, and the filmmaker using it, frame lived experience,” says Asili.

Ephraim Asili is an African American artist and educator whose work focuses on the African diaspora as a cultural force. Often inspired by his quotidian wanderings, Asili creates art that situates itself as a series of meditations on the everyday. He received his BA in Film and Media Arts from Temple University and his MFA in Film and Interdisciplinary Art at Bard College. Asili’s films have screened in festivals and venues all over the world, including the New York Film Festival, Toronto International Film Festival, The Berlinale, and the International Film Festival Rotterdam. Asili’s 2020 feature debut The Inheritance premiered at the 2020 Toronto International Film Festival and was recently the focus of an exhibition at the Whitney Museum of American Art where it is a part of their permanent collection. In 2021 Asili was the recipient of a Guggenheim Fellowship. During the summer of 2022 Asili directed a short film Strange Math along with the 2023 Men’s Spring/Summer fashion show for Louis Vuitton. In 2023, Asili was the recipient of a Harvard Radcliffe Fellowship, and in 2024 Asili was awarded a grant from Creative Capital. 

Sancia Miala Shiba Nash '19 and Drew K. Broderick MA ’19 of kekahi wahi also won a 2025 United States Artists fellowship. kekahi wahi was instigated in 2020 by filmmaker Sancia Miala Shiba Nash and artist Drew K. Broderick. The grassroots film initiative is committed to documenting transformations across the Hawaiian archipelago and sharing stories of the greater Pacific through time-based media. 

Bard Distinguished Artist in Residence and Assistant Professor of American and Indigenous Studies Kite MFA ’18 was profiled in the multimedia hub I Care If You Listen. The piece focuses on Kite’s two-day residency at the Experimental Media and Performing Arts Center at Rensselaer (EMPAC) where she led seven students through a workshop on dreaming, then let them create and perform their own visual scores based on their dreams. ​​“It’s great to get to work with the students here,” Kite said. “Wrangling crazy ideas, organizing them into something sensible, being sensitive to your audience’s needs, and being careful with time, being self aware—those are all skills I can share.”

Kite joined Bard in 2023 and has worked in the field of machine learning since 2017. She develops wearable technology and full-body software systems to interrogate past, present, and future Lakȟóta philosophies. She is also the director of the Wihanble S’a Center for Indigenous AI at Bard. I Care If You Listen describes her work as “[uniting] scientific and artistic disciplines through custom worn electronic instruments, research, visual scores, and more… rooted in Lakota ways of making knowledge, in which body and mind are always intimately intertwined.”

Bard alumna Lotus L. Kang MFA ’15 was included in the New York Times’s list of breakout stars of 2024. Nominated for her sculpture and site-responsive artwork, Kang was included as one of “10 artists who shook up their scenes and resonated with fans this year.” Kang has taught sculpture at Bard and has exhibited at galleries including the Chicago Museum of Contemporary Art, the Hessel Museum of Art, and the New Museum.

Kang’s 2024 exhibits included In Cascades at the Whitney Biennial, featuring sculptures made from purposefully exposed film, and Receiver Transmitter, a greenhouse located at the Museum of Contemporary Art Toronto. The Times reviewed In Cascades last year, calling it “a richly sedimented, beautifully vulnerable installation in a perpetual state of becoming.”