Bard Graduate Programs in the News
March 2025 |
||||
| 03-31-2025 |
The purpose of this symposium is to facilitate public discussion informed by science, environmental law, and best citizen advocacy practices and to explore how members of the community can effectively address and work together to curtail these threats. Morning presentations will be followed by an afternoon panel and public discussion. Members of the Hudson Valley community are welcome to attend for all or part of the symposium. Key speakers include writer, filmmaker and adventurer, Jon Bowermaster; Associate Director of Government Affairs at Riverkeeper Jeremy Cherson MS ’15, who is working to advance Riverkeeper’s priorities in Albany and Washington; Senior Staff Attorney at Food & Water Watch and Bard faculty member Erin Doran; public health physician and Director of the Institute for Health and the Environment at SUNY Albany David O. Carpenter; and lawyer Florence Murray, whose practice specializes in traumatic brain injuries and wrongful death actions, civil rights violations with severe injuries, trucking collisions, and railroad derailments—such as the one in East Palestine, Ohio. “The Fate of the River” symposium is the first in a series of public discussions entitled Environmental Injustice Across the Americas that focuses on state-sanctioned pollution, the poisoning of water, destruction of the commons, and the fight for justice. “The Fate of the River” is cosponsored by Bard College’s Human Rights Program, Center for Civic Engagement, Center for Environmental Policy, Environmental Studies, and the Office of Sustainability. # “The Fate of the River” Symposium Schedule 10:00–10:10 am Introduction to “The Fate of the River” symposium 10:10–10: 35 am Introduction and screening of Jon Bowermaster’s film A Toxic Legacy about General Electric’s contamination of the Hudson/Mahicantuck River 10:40–11:00 am Jeremy Cherson, Associate Director of Government Affairs, Riverkeeper 11:05–11:25 am Erin Doran, Faculty in Environmental Law, Bard Center for Environmental Policy, and Senior Staff Attorney, Food & Water Watch 11:35–11:55 am David Carpenter, Director of Institute for Health and the Environment, SUNY Albany Noon–1:00 pm LUNCH BREAK 1:05–1:25 pm Eli Dueker, Associate Professor of Environmental and Urban Studies, and Director of Bard Center for Environmental Sciences and Humanities 1:25–1:40 pm Introduction to and screening of Jon Bowermaster’s film Bomb Trains 1:45–2:05 pm Florence Murray, Partner of Murray & Murray Law Firm, represents stakeholders affected by the toxic aftermath of the 2023 derailment of a Norfolk Southern train in East Palestine, Ohio 2:15–2:35 pm COFFEE BREAK 2:40–4:00 pm Panel and Public Discussion: “Next Steps Toward a Healthier River” Refreshments graciously provided by Taste Budds and Yum Yum of Red Hook. Photo: Hudson/Mahicantuck River. Photo by Jon Bowermaster
Meta: Subject(s): Bard Graduate Programs,Bard Graduate Programs in Sustainability,Bard Undergraduate Programs,Center for Environmental Sciences and Humanities (CESH),Civic Engagement,Environmental and Urban Studies Program,Environmental/Sustainability,Human Rights,Interdivisional Studies | Institutes(s): Bard Center for Environmental Policy,Bard Undergraduate Programs,Center for Civic Engagement,Center for Environmental Sciences and Humanities | |
|||
| 03-27-2025 |
The Commencement address will be given by former Prime Minister of Haiti (2008–09) and President/Founder of Fondation Connaissance et Liberté (Foundation for Knowledge and Liberty, or FOKAL) Michèle Duvivier Pierre-Louis, who is also a professor at Université Quisqueya in Port-au-Prince, Haiti. Honorary degrees will be awarded to Michèle Duvivier Pierre-Louis, lawyer Jack Arthur Blum ’62, artist and performer Justin Vivian Bond, philanthropist and art collector Maja Hoffmann, journalist and scholar Josef Joffe, photographer Cindy Sherman, and endocrinologist Yaron Tomer. Other events taking place during Commencement Weekend include Bard College award ceremonies. The Bard Medal will be presented to Penny Axelrod ’63; the John and Samuel Bard Award in Medicine and Science to Jen Gaudioso ’95; the Charles Flint Kellogg Award in Arts and Letters to Lisa Kereszi ’95; the John Dewey Award for Distinguished Public Service to Angela Edman ’03; the Mary McCarthy Award to Joy Harjo; the László Z. Bitó ’60 Award for Humanitarian Service to Sasha Skochilenko ’17 and Bo Bo Nge ’04; and Bardian Awards to Peter Filkins, Mark Halsey, Peter Laki, Bradford Morrow, and Melanie Nicholson. ABOUT THE COMMENCEMENT SPEAKER Michèle Duvivier Pierre-Louis was the prime minister of Haiti from 2008–09. Upon leaving office, she returned to the foundation she created in 1995, Fondation Connaissance et Liberté (Foundation for Knowledge and Liberty, or FOKAL). She is FOKAL’s president, coordinating special projects in sustainable development and higher education. Pierre-Louis is also a professor at Université Quisqueya in Port-au-Prince, Haiti. She holds a master’s degree in economics from Queens College in New York, and honorary doctorates from Saint Michael’s College in Vermont and the University of San Francisco. In 2010, she was a resident fellow at Harvard Kennedy School in Cambridge, Massachusetts. Pierre-Louis has contributed to several books and publications about Haiti, and she is a founding member of the Haitian/Caribbean review magazine Chemins Critiques, in which she has published articles on politics, gender, economics, arts, and culture. She is board chair of Haiti’s prominent cultural institution Le Centre d’art, a position she also holds with the Centre de Promotion de la Femme Ouvrière and Caribbean Culture Fund. Among numerous other awards, she is the 2023 recipient of the French Legion of Honor. Photo: Michèle Duvivier Pierre-Louis. Photo by Josué Azor (for Pierre-Louis)
Meta: Subject(s): Bard Graduate Programs,Bard Undergraduate Programs | Institutes(s): Bard Undergraduate Programs | |
|||
| 03-10-2025 |
Long-Term Voting Trends Show Democrats Losing Working Class Support Due to Absence of Clear Vision for Popular Progressive Economic PoliciesThe Levy Economics Institute of Bard College has published a policy brief outlining economic policies that improve the lives of working-class families and could sway the American electorate. That “Vision Thing”: Formulating a Winning Policy Agenda, Levy Public Policy Brief No. 158, coauthored by Levy Economics Institute President Pavlina R. Tcherneva and Senior Scholar L. Randall Wray, analyzes the shifting allegiances of American voters over the decades as the Democratic Party lost the support of its traditional base—blue-collar and rural counties—and came to be seen as the party of the educated elite, socially liberal, and relatively economically secure. “Trump was the beneficiary of a long-term retreat of working-class voters from the Democratic Party. But becoming the party of the economically secure in a world of runaway inequality, rising precarity, and widespread frustration with many aspects of the economy does not and will not win elections. Still, as we show in this report, Americans are far more progressive than either party gives them credit for. Whatever path forward Democrats choose, winning back the working class would be a long process without a big and bold vision,” says Tcherneva. For the first time since 1960, Democrats earned a greater margin of support among the richest third of American voters in 2024 than they did among the poorest or middle third. Meanwhile, Trump gained more vote share in counties rated as distressed—and gained less in prosperous counties—despite those counties benefiting significantly and performing better economically under President Biden’s policies that boosted government assistance. In spite of the Democratic focus on inequality, the party fails to reach the financially disadvantaged (who are the true swing voters) with their message, the report asserts. “Democrats had neither delivered on nor even highlighted the changes that many voters wanted: policies that would provide economic benefits. They were tired of inflation that reduced purchasing power, wages that remained too low (even in supposedly good labor markets) to support their families, and many other issues related to economic precarity, including the costs of healthcare, prescription drugs, childcare and—for a significant portion—college,” write Tcherneva and Wray. Assessing ballot measures and polling data, the Levy report identifies worker-friendly policies that would improve the wellbeing of the American working class and win elections. “Americans seem to apply two litmus tests to any proposed policy: (1) how will it impact American jobs and (2) how will it impact American paychecks,” they find. “If tariffs are expected to protect jobs, voters are behind them. If they hurt their paychecks, even conservative-leaning voters are strongly against them.” Ballot measures indicate voters are more progressive than either party recognizes. Winning policies include: raising minimum wages, lowering taxes on earned income and social security (or eliminating them altogether for tips), making healthcare and education more affordable, protecting funding for public schools, increasing Pell grants, reducing the costs of higher education, and implementing paid sick and family leaves. Importantly, whenever asked, Americans strongly support federal programs of direct employment and on-the-job training—in the form of a federal job guarantee or national service for youths in jobs that support the community and the environment. They also care about rebuilding public infrastructure and investing in arts and culture. Moreover, voters want policies that protect them from price increases, corporate greed, predatory interest rates, and hidden fees. They support more progressivity in the tax system and fewer tax loopholes for billionaires. They are tired of the dominance of billionaires in lobbying by special interests and campaign finance. “Employment security, economic mobility, community rehabilitation, and environmental sustainability are winning messages. But they are especially powerful when anchored in concrete policies that directly deliver what they promise—good jobs, good pay, decent benefits, affordable health, education, food, and a peace of mind that Americans can care for loved ones without the threat of unemployment or price shocks or the loss of essential benefits,” the report concludes. https://www.levyinstitute.org/publications/that-vision-thing Photo: Blithewood, home to the Levy Economics Institute of Bard College.
Meta: Subject(s): Bard Graduate Programs,Division of Social Studies,Economics,Economics and Finance Program,Economics Program,Gender and Sexuality Studies,Global and International Studies,Interdivisional Studies,Levy Economics Institute,Levy Graduate Programs | Institutes(s): Levy Economics Institute,Levy Grad Programs | |
|||
| 03-06-2025 |
The graduate exhibition is a core component of CCS Bard’s master’s program, which offers each student the opportunity to organize an independent project involving new commissions, original research into artists’ practices, and engagement with CCS Bard’s extensive archives and the Marieluise Hessel Collection. Past student-curated exhibitions have served as springboards for artists in the earliest stages of their careers, deep scholarship into historic movements and tendencies, and as the basis for ongoing curatorial investigations by CCS Bard graduates at other leading museums, galleries, and arts organizations around the world. Representing individual curatorial concerns and strategies, this year’s projects range from exhibitions that explore digital dystopias, media circulation, competing histories and memory, and underrepresented artists and archives.15 unites work by nearly 50 artists, including:
CCS Bard Graduate Student Curatorial Statements Full curatorial statements are linked in the exhibition titles. gap gap gap / گپ گپ گپ Featured artists: Hangama Amiri, Latifa Zafar Attaii, Zelikha Zohra Shoja Curated by Zuhra Amini How do photographs condition our perceptions of the self, family, and community? gap gap gap / گپ گپ گپ brings together three contemporary Afghan artists who refigure personal, everyday photos through the slow, careful process of needlework. Transformed by time and scale, their resulting works—situated at the intersection of photography and fiber art—monumentalize the careful, demanding process of suturing relationships that have ruptured in the aftermath of displacement. The Edge of Belongings Featured artists: Eugene Jung, boma pak, Jiajia Zhang, Bruno Zhu Curated by Jungmin Cho Ubiquitous consumer goods with designated lifespans, from digital devices to fast fashion and souvenirs to construction materials, carry a dual weight: physical and emotional. We form real bonds with them, yet they are intended to become obsolete, outmoded, or unwanted, encouraging repeat consumption and disposal. This exhibition—featuring Eugene Jung, boma pak, Jiajia Zhang, and Bruno Zhu—observes the unexpected intimacies we feel with common and disposable objects and how these connections reflect broader socioeconomic structures. Sung Hwan Kim: Queer bird faces Featured artists: Sung Hwan Kim Curated by Hayoung Chung Queer bird faces presents films and excerpts from Sung Hwan Kim’s ongoing research into undocumented early 20th-century Korean immigration to Hawaiʻi. Kim’s visual re-creations—through enigmatic narratives, nonbinary figures, and idiosyncratic subtitles—invite us to envision these immigrants’ systematic erasure from history and education shaped by national boundaries. An exhibition publication featuring poems by early Korean immigrants to the U.S. and a concert by David Michael DiGregorio accompany. Bảy nổi ba chìm – Seven up Three down Featured artists: Lê Đình Chung, Daphné Nan Le Sergent, Prune Phi, Xavier Robles de Medina, and Arlette Quỳnh-Anh Trần Curated by Đỗ Tường Linh Bảy nổi ba chìm – Seven up Three down pays homage to Hàm Nghi (1871–1944), an Annamese (modern-day Vietnamese) emperor who became the country’s first modern artist while in exile in Algeria. The exhibition weaves together the works of Lê Đình Chung, Daphné Nan Le Sergent, Prune Phi, Xavier Robles de Medina, and Arlette Quỳnh-Anh Trần, all of whom traverse and echo hidden histories related to Hàm Nghi and his time to reinterpret, reimagine, and breathe life into both the present and the future. dearmuthafuckindreams, Featured artists: Essex Hemphill, Char Jeré, Wayson Jones, Malcolm Peacock, Collin Riggins, Marlon Riggs, Colin Robinson, and Jaguar Mary X Curated by Omar Jason Farah dearmuthafuckindreams, sits in the power and possibility of emerging artists convening with their black queer ancestors. Bringing together photographs by Collin Alexander Riggins and Colin Robinson, words by Malcolm Peacock, Wayson Jones, and Essex Hemphill, and films by Char Jeré, Jaguar Mary X, and Marlon Riggs, the exhibition’s polyvocal and intergenerational voice speaks to the continuity and dynamism of the black queer radical tradition from the 1980s to today. The Appearance of Distance Featured artists: Tiffany Sia, Kobby Adi, Jackie Karuti Curated by Matthew Lawson Garrett The Appearance of Distance is an exhibition featuring artists whose work addresses the materiality of images and the relationship between their movement and the space through which they circulate. Works by Tiffany Sia, Kobby Adi, and Jackie Karuti respond to today’s media environment by introducing frictions, revealing how the movement of images within apparently ethereal networks leave material traces on both the surface of images and the physical landscapes through which they pass. a clear veil Featured artists: Azadeh Elmizadeh, Ella Gonzales, Lotus L. Kang, and Audie Murray Curated by Cicely Haggerty Through methods of blurring, folding, layering, and concealing, the artists included in a clear veil create tensions—visually, materially, and conceptually—between what is revealed and what is not about themselves and their works. Acting as both refusals and invitations, the works of Azadeh Elmizadeh, Ella Gonzales, Lotus L. Kang, and Audie Murray approach the threshold of visibility without ever becoming fully clear. CONCRETE Featured artists: Robert Barry, Jason Hirata, and Ghislaine Leung Curated by Lekha Jandhyala Three artists, Robert Barry, Jason Hirata, and Ghislaine Leung, take CONCRETE as a site to expose the unseen and indeterminate systems that construct and condition a viewing experience. Mutable Cycles Featured artist: Joyce Joumaa, Iris Touliatou, Natascha Sadr Haghighian, Marina Christodoulidou, and Peter Eramian Curated by Ariana Kalliga Mutable Cycles is a group exhibition exploring the dismantling of public infrastructures in service of private profit. The featured artists turn to recent histories of financial fallout and its aftermaths—from collective struggles over home foreclosures in Cyprus since 2012–13, to the 2019 solar energy boom in Lebanon—in order to think through debt, property, and the right to public goods. Mutable Cycles features work by Joyce Joumaa, Iris Touliatou, Natascha Sadr Haghighian, Marina Christodoulidou, and Peter Eramian. Intercession Featured artists: Lois Bielefeld, Ryan Kuo, Harris Rosenblum and Theresa Faison (for Transcendence Creative), and Viktor Timofeev Curated by Audrey Min Intercession considers a spirit that seems to animate the digital devices that help us participate in pleasure, social life, ethics, and politics. Despite—or perhaps because of—the intimacy of this human-computer partnership, digital technology often seems to act as if by magic or prayer. Works by Lois Bielefeld, Ryan Kuo, Harris Rosenblum and Theresa Faison (for Transcendence Creative), and Viktor Timofeev play with digital interfaces and the significance of their role in analog life. Would We Recognize Ourselves Unbroken Featured artists: Simon Benjamin, Keli Safia Maksud, and Suneil Sanzgiri Curated by Sibia Sarangan Would We Recognize Ourselves Unbroken brings together recent works by Simon Benjamin, Keli Safia Maksud, and Suneil Sanzgiri that assert lived experience and collective memory over official histories. Drawing from archives and long-term research, the featured artists subvert entrenched paradigms of temporality and identity by working across past and present, fiction and truth—or what we have come to believe is the truth. Lovett/Codagnone: Each Man Kills the Thing He Loves Featured artists: Lovett/Codagnone and Julie Tolentino Curated by Andrew Suggs Each Man Kills the Thing He Loves draws from the archive of artist team Lovett/Codagnone to foreground the transmission of queer lineages, specifically as impacted and shaped by HIV/AIDS. In addition to the re-creation of Lovett/Codagnone’s studio walls—featuring hundreds of pieces of ephemera related to queer histories—Closer, a Lovett/Codagnone performance from 1998, is archived and given new form by longtime collaborator Julie Tolentino. à Artists: Manon de Boer, Poul Kjærholm, Pierre Leguillon, Raimundas Malašauskas, John Menick, Ricardo Valentim, and Javier Villanueva A conversation about time takes the form of an exhibition at the Hessel Museum of Art. Right now I’m not there Featured artists: Narcisa Hirsch, Luiz Roque, and Rosario Zorraquín Curated by Micaela Vindman Right now I’m not there focuses on the process of bringing inner aspects of oneself to the surface. Drawing from video, sculpture, and painting the works of Narcisa Hirsch, Luiz Roque, and Rosario Zorraquín explore what happens when fragmented inner worlds are shaped through visual media and brought into our public world. The exhibition reveals the strangeness and discomfort of sharing what is most personal—and the trouble we might have with recognizing what we find. Madeline Gins: Infinite Systems Featured artists: Madeline Gins Curated by Charlotte Youkilis Infinite Systems presents works by Madeline Gins (1941–2014), an artist and writer whose practice tested the limits of human cognition and sensory perception. This exhibition—the first solo presentation on Gins—shifts the focus from her collaborations with her husband, Arakawa, under the moniker Arakawa+Gins, to her rarely shown independent practice. A selection of her writing and visual works from the 1960s to the 2000s, many exhibited for the first time, are displayed alongside archival materials, including ephemera, manuscripts, and photographs drawn from the Reversible Destiny Foundation. Exhibition Credits The graduate student-curated exhibitions and projects at CCS Bard are part of the requirements for the master of arts degree and are made possible with support from Lonti Ebers; Robert Soros and the Enterprise Foundation; the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Robert Mapplethorpe Foundation; The Wortham Foundation; the Board of Governors of the Center for Curatorial Studies; and the Center’s Patrons, Supporters, and Friends. Photo: Prune Phi, Cơm, 2025, in the exhibition Bảy nổi ba chìm – Seven up Three down.
Meta: Subject(s): Bard Graduate Programs,Center for Curatorial Studies (CCS Bard),Event | Institutes(s): Center for Curatorial Studies | |
|||
| 03-04-2025 |
Condé Nast describes Bard’s campus as “one of a kind,” mentioning the College’s Greek Revival, postmodern, and brutalist building styles. The list invites readers to “wander between Blithewood Manor’s walled Italian gardens, the Greek Revival-style Hoffman Memorial Library, and Frank Gehry’s titanium-clad, contemporary Fisher Center for the Performing Arts.” https://www.cntraveler.com/galleries/2016-01-29/the-20-most-beautiful-college-campuses-in-america Photo: The Fisher Center. Photo by Peter Aaron ’68
Meta: Subject(s): Bard Graduate Programs,Bard Undergraduate Programs,Campus and Facilities | |
|||
| 03-04-2025 |
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. https://www.artforum.com/features/kite-generative-ai-performance-video-1234727290/ Photo: Wichahpih'a (a clear night with a star-filled sky) by Suzanne Kite MFA ’18, director of the Wihanble S’a Center for Indigenous AI.
Meta: Subject(s): Alumni/ae,American and Indigenous Studies Program,Bard Graduate Programs,Bard Undergraduate Programs,Master of Fine Arts (Bard MFA),Studio Arts Program | Institutes(s): Bard Undergraduate Programs,MFA,Wihanble S’a Center | |
|||
February 2025 |
||||
| 02-17-2025 |
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/ https://www.nytimes.com/2025/02/14/arts/design/christine-sun-kim-artist.html Photo: Christine Sun Kim MFA ’13. Photo by Ina Niehoff
Meta: Subject(s): Alumni/ae,Bard Graduate Programs,Master of Fine Arts (Bard MFA) | Institutes(s): MFA | |
|||
January 2025 |
||||
| 01-07-2025 |
Further reading: Center for Indigenous Studies’ Three-Day Convening at the Venice Biennale Featured in Hyperallergic https://news.artnet.com/art-world/jeffrey-gibson-us-pavilion-venice-indigenous-voices-2574215 Photo: Jeffrey Gibson. Photo by Brian Barlow
Meta: Subject(s): American and Indigenous Studies Program,Bard Graduate Programs,Bard Undergraduate Programs,Center for Curatorial Studies (CCS Bard),Center for Indigenous Studies,Division of the Arts,Studio Arts Program | Institutes(s): Bard Undergraduate Programs,Center for Curatorial Studies | |
|||
| 01-07-2025 |
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.” https://icareifyoulisten.com/2024/12/lakota-ontologies-ai-and-graphic-scores-find-a-symbiotic-home-in-the-waking-dreams-of-kite/ Photo: Kite.
Meta: Subject(s): Alumni/ae,American and Indigenous Studies Program,Artificial Intelligence,Bard Graduate Programs,Bard Undergraduate Programs,Center for Indigenous Studies,Division of the Arts,Interdivisional Studies,Master of Fine Arts (Bard MFA),Studio Arts Program | Institutes(s): Bard Undergraduate Programs,MFA | |
|||
December 2024 |
||||
| 12-17-2024 |
Amber Esseiva (CCS Bard ’15) to Receive CCS Bard Alumni Award
Photo: Gridthiya Gaweewong. Photo by Angkrit Ajchariyasophon; Amber Esseiva. Photo by Jonah Hodari
Meta: Subject(s): Alumni/ae,Awards,Bard Graduate Programs,Center for Curatorial Studies (CCS Bard) | Institutes(s): Center for Curatorial Studies | |
|||
| 12-17-2024 |
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.” https://www.nytimes.com/2024/12/16/arts/breakout-stars-2024-music-tv-movies.html Photo: Lotus L. Kang. Photo by Seth Fluker
Meta: Subject(s): Bard Graduate Programs,Master of Fine Arts (Bard MFA) | Institutes(s): MFA | |
|||
November 2024 |
||||
| 11-18-2024 |
The Bard MAT/IWT project will make use of the vast archival resources of the Library of Congress in professional development workshops that model how to apply writing-to-read and writing-to-learn strategies to primary sources in ELA, Social Studies, and STEM classrooms. The project will develop a workshop series for teachers, teachers-in-training, and middle school and high school students, focused on an interdisciplinary collection of sources (historical surveys, maps, and representations of the American landscape). The primary goal of the workshops is to offer writing-based strategies to help students delve into texts that might feel daunting and inaccessible and to give them tools to slow down their reading and uncover surprising connections and meaning. Proposed workshops include one-day events during the school year, programming in the MAT summer semester, and an intensive weeklong workshop that will be offered within IWT’s popular and long-running July Weeklong Workshop series. Some workshops will be held in person on Bard College’s campus in New York’s Hudson Valley; some will be held online. The focus of the project is to revise and expand their current program of Teaching with Primary Sources (TPS)–centered training workshops and pre-service education courses and more fully circulate the materials created in these workshops for educators. IWT’s current Library of Congress–focused workshops will be revised specifically for middle school classrooms, with skills-building exercises in reading and writing critically, and the resources made widely available to middle school educators. Modeling classroom activities that stimulate middle school students’ engagement with language, ideas, and archival sources, these workshops will be held on the Bard campus, online, and in middle schools partnered with Bard MAT. Bard will use its established networks, promotional forums, and targeted advertising to attract middle school teachers as workshop participants. Newly-developed middle school lesson plans and primary source sets will be posted on a new section of the IWT website, as will videos from sixth through ninth grade teachers demonstrating writing-based teaching with primary sources inspired by the Bard workshops they’ve attended. In required laboratory classes, MAT will train education degree candidates in archival literacy instruction for middle school ELA and Social Studies classes. MAT history students will revise the chapter of a textbook, supplemented by a curated set of primary sources and archival materials. These primary source sets will be integral to Capstone Projects by MAT degree candidates, and archived in the Bard Library Digital Commons as searchable Open Educational Resources and cross-posted to the TPS Consortium Created Materials site: https://tpsconsortiumcreatedmaterials.org/ To inform this work, participants will draw on Library of Congress sources such as historical city maps, stereopticon photographs of Lower East Side street vendors, abolitionist posters, and 1920s Edison films. Sources might include Army Corps of Engineers maps and surveys of the Mississippi River flood plains, Native American paintings, and photographs of 19th-century utopian communities, for example. Reading primary sources poses particular literacy challenges for students—whether because of challenging language, unfamiliar visual conventions, or simply because (unlike many texts that students encounter in the classroom) primary sources were not written or produced with 21st-century students as their intended audiences. The writing-to-learn and writing-to-read strategies, modeled in the IWT and MAT workshops, help teachers guide students through encounters with challenging texts. Writing-to-learn and writing-to-read strategies are particularly empowering when students use them to navigate and decipher historical and primary sources, helping them to find unexpected layers of meaning and interpret unfamiliar data. Bard College IWT/MAT have previously been awarded three TPS Regional grants in 2019, 2020, and 2021 for the projects “The World of the Poem: Teaching Poetry through Primary Sources,” “‘If Woman Upset the World’: Reading and Writing Women Activists of the Hudson Valley,” and the four-year “Mapping Unknowns: Writing to Read Primary Sources.” These successful projects operated through the Library of Congress Teaching with Primary Sources Regional Grant Program. Photo: IWT July Weeklong Workshop series, 2024. Photo by Karl Rabe
Meta: Subject(s): Bard Graduate Programs,Grants,Institute for Writing and Thinking (IWT),Office of Institutional Support (OIS) | Institutes(s): Bard Undergraduate Programs,Institute for Writing and Thinking,Master of Arts in Teaching | |
|||
| 11-12-2024 |
https://www.timesunion.com/music/article/joan-tower-gets-personal-a-new-day-albany-19893271.php Photo: Joan Tower.
Meta: Subject(s): Bard Graduate Programs,Bard Undergraduate Programs,Conservatory,Division of the Arts,Faculty,Music,Music Program | Institutes(s): Bard Conservatory of Music,Bard Undergraduate Programs | |
|||
October 2024 |
||||
| 10-29-2024 |
https://bombmagazine.org/articles/2024/10/21/adriana-farmiga-by-fawn-krieger/ Photo: Adriana Farmiga's AVATAR series. Courtesy of the artist
Meta: Subject(s): Alumni/ae,Bard Graduate Programs | |
|||
| 10-29-2024 |
Photo: Still from Valve Turners. Photo courtest of Climate Film Fest
Meta: Subject(s): Alumni/ae,Bard Graduate Programs,Bard Graduate Programs in Sustainability,Environmental/Sustainability | Institutes(s): Bard Center for Environmental Policy | |
|||
Upcoming Events
- 4/02WednesdayBuilding a Career in Sustainability: Leveraging Your Peace Corps Experience
7:00 pm – 8:30 pm EDT/GMT-4 Online Event - 4/04Friday
- 4/08Tuesday