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Opus 40 Set to Acquire House of Late Bard Professor, Alumnus Harvey Fite ’30, Bard Will Partner on Programming

Opus 40 has reached an agreement to purchase the historic home of Bard professor, alumnus, and artist Harvey Fite ’30. Bard College was a partner in the process, and will provide programming support in the house going forward, to include educational programs, workshops, and faculty residencies. Bard College President Leon Botstein said, “It’s an honor to participate in the preservation of this unique sculpture and land art made by an alumnus and long-time faculty member of Bard and our neighbor in the Hudson Valley. We look forward to expanding joint programming with Opus 40 in the future and are thankful to the Richards family for their efforts preserving Harvey Fite’s legacy.”

Opus 40 Set to Acquire House of Late Bard Professor, Alumnus Harvey Fite ’30, Bard Will Partner on Programming

Opus 40 has reached an agreement to purchase the historic home of Bard professor, alumnus, and artist Harvey Fite ’30. Bard College was a partner in the process, and will provide programming support in the house going forward, to include educational programs, workshops, and faculty residencies. Harvey Fite created Opus 40, the 6.5-acre bluestone sculpture park in Saugerties, New York, and built the house. The purchase was made possible in part by major support from the Thompson Family Foundation, the New York State Assembly, and the town of Saugerties.

Bard College President Leon Botstein said, “It’s an honor to participate in the preservation of this unique sculpture and land art made by an alumnus and long-time faculty member of Bard and our neighbor in the Hudson Valley. We look forward to expanding joint programming with Opus 40 in the future and are thankful to the Richards family for their efforts preserving Harvey Fite’s legacy.”

Harvey Fite was a member of the faculty at Bard College for 36 years and founded the College’s art department before his retirement in 1969.
Read More

Post Date: 02-13-2023

Art Collective Codirected by Jeremiah Hulsebos-Spofford ’07 to Curate and Direct Fifth Edition of Chicago Architecture Biennial

The Chicago-based Floating Museum, an art collective codirected by Bard alumnus Jeremiah Hulsebos-Spofford ’07, will serve as the artistic team leading the fifth edition of the Chicago Architecture Biennial, or CAB 5. Titled This is a Rehearsal, CAB 5 “will build on and expand the collective’s ongoing work,” writes Matt Hickman for the Architect’s Newspaper. “Floating Museum is organized to work at the intersection of disciplines, where civic participation inspires and shapes our process. It’s both a thrill and challenge to collaborate with the CAB as the artistic team of the 2023 edition,” said the members of Floating Museum.

Art Collective Codirected by Jeremiah Hulsebos-Spofford ’07 to Curate and Direct Fifth Edition of Chicago Architecture Biennial

The Chicago-based Floating Museum, an art collective codirected by Bard alumnus Jeremiah Hulsebos-Spofford ’07, will serve as the artistic team leading the fifth edition of the Chicago Architecture Biennial, or CAB 5. Titled This is a Rehearsal, CAB 5 “will build on and expand the collective’s ongoing work,” writes Matt Hickman for the Architect’s Newspaper. “Floating Museum is organized to work at the intersection of disciplines, where civic participation inspires and shapes our process. It’s both a thrill and challenge to collaborate with the CAB as the artistic team of the 2023 edition,” said the members of Floating Museum. With This is a Rehearsal, the collective hopes to showcase work that demonstrates the ways in which “contemporary environmental, political, and economic issues are shared across national boundaries but are addressed differently around the world through art, architecture, infrastructure, and civic participation.” CAB 5, This is a Rehearsal, is scheduled to open September 2023.
Read More in the Architect’s Newspaper

Post Date: 09-20-2022

Incarcerated Youth “Talk Back” with Catskill Art Exhibition, Curated by Sofia Thieu D’Amico CCS ’22 and Organized by Bard Faculty Maggie Hazen with Alumna Anna Schupack ’22

An exhibition in Catskill features work by the Columbia Collective, a multimedia arts group of female and trans incarcerated artists that was founded by Maggie Hazen, visiting artist in residence at Bard College. Anna Schupack ’22 helped Hazen organize the exhibition to promote the artists in the collective while bringing attention to problems in the juvenile justice system. Sofia Thieu D’Amico CCS ’22 curated the show. The exhibition was funded by Bard’s Margarita Kuchma Project Award, which Schupack and Sarah Soucek ’22 won in July. Talking Back: Artists of the Columbia Collective, runs through September 25 at Foreland Contemporary Arts Campus in Catskill, with an artist talk and panel discussion for the exhibition on September 14 at 6:30 pm, in person and on Zoom.

Incarcerated Youth “Talk Back” with Catskill Art Exhibition, Curated by Sofia Thieu D’Amico CCS ’22 and Organized by Bard Faculty Maggie Hazen with Alumna Anna Schupack ’22

An exhibition in Catskill features work by the Columbia Collective, a multimedia arts group of female and trans incarcerated artists that was founded by Maggie Hazen, visiting artist in residence at Bard College. Anna Schupack ’22 helped Hazen organize the exhibition to promote the artists in the collective while bringing attention to problems in the juvenile justice system. Sofia Thieu D’Amico CCS ’22 curated the show. The exhibition was funded by Bard’s Margarita Kuchma Project Award, which Schupack and Sarah Soucek ’22 won in July. Talking Back: Artists of the Columbia Collective, runs through September 25 at Foreland Contemporary Arts Campus in Catskill.

The Foreland galleries will host an artist talk and panel discussion for the exhibition on September 14 at 6:30 pm, in person and on Zoom, moderated by D'Amico:
This event is free and open to the public, with Alison Cornyn of the Incorrigibles Project and Mark Loughney, artist of Marking Time: Art in the Age of Mass Incarceration, focusing on the intersections of cultural and carceral systems, tapping our prison history archives, the crisis of youth incarceration, and visions of a decarcerated future. They will ask: How do we identify modes of abolition and advocacy, create critical projects, and identify the reaches of our prison industrial complex? Following artist presentations and discussion will be a Q&A session with panelists and Columbia Collective founder Maggie Hazen.
Read More in Chronogram
Read More in the Times Union

Post Date: 09-13-2022
More Arts News
  • “Snakes, Scrolls, Swinging from Chandeliers”: Artist Carolee Shneemann ’59 Profiled in the Guardian

    “Snakes, Scrolls, Swinging from Chandeliers”: Artist Carolee Shneemann ’59 Profiled in the Guardian

    Novelist Stephanie LaCava profiles her friend, multidisciplinary artist, and Bard studio arts alumna Carolee Shneemann ’59 for the Guardian. Shneemann (1939–2019) was among the founding artists of the Judson Dance Theater, alongside the late Trisha Brown and Aileen Passloff (Professor Emerita of Dance at Bard). Shneemann created boundary-breaking, embodied art that included kinetic theater, film, photography, sculpture, and writing, however, she always considered herself a painter. While in her lifetime, gallery representation and critical recognition was elusive, her legacy is receiving more attention. “Postmortem, the accolades come fast for Carolee. They were never so forthcoming when she was still pushing the limits of earthbound energy, inhabiting her body,” writes LaCava. “Body Politics,” the first UK survey of Schneemann’s work, is on view at the Barbican in London until January 8, 2023. 
    Read more in the Guardian

    Post Date: 09-13-2022
  • Painter Andy Robert Explores the Present, History, and Memory in His First Solo Show in London

    Painter Andy Robert Explores the Present, History, and Memory in His First Solo Show in London

    Visiting Artist in Residence Andy Robert’s first solo exhibition in the United Kingdom, Ti Zwazo Clarendon: You Can Go Home Again; You Just Can’t Stay, opens September 16 at the Michael Werner Gallery in London. His paintings challenge a static understanding of history. Describing his method, Robert says “in questioning how an image comes into the world, and into being, I want to own up, to admit at any point, a painting, an image can change direction and isn’t fixed.” Robert’s work will also be shown at the 58th Carnegie International in Pittsburgh. Established in 1896 by the Carnegie Museum of Art and organized every three to four years, the Carnegie International is the longest-running North American exhibition of international art and presents an overview of how art and artists respond to the critical questions of our time. The 58th Carnegie International, which is titled Is it morning for you yet?, runs from September 24, 2022, to April 2, 2023.
    Read more at Michael Werner Gallery
    Read more about the 58th Carnegie International

    Post Date: 08-30-2022
  • Got an Art Problem? Nayland Blake ’82 Can Help, Writes the New Yorker

    Got an Art Problem? Nayland Blake ’82 Can Help, Writes the New Yorker

    As part of the 2022 Whitney Biennial, Nayland Blake ’82, “bearish, Merlin-bearded, soft-spoken in the manner of a blacksmith teaching kindergartners,” offers advice to artists as part of their performance series “Got an Art Problem?” Writing for the New Yorker, Hannah Seidlitz outlines Blake’s contributions to this year’s Biennial, including “Rear Entry” and “Gender Discard Party,” in which “guests were invited to ‘bring your own baggage’ and dance away the woes of classification.” With “Got an Art Problem?,” Blake schedules meetings with guests who are asked to “illustrate their art problems,” which Blake then talks through with the guest until their time is up. Offering advice to one guest, an artist who goes by Zaun whose work attempts “to visualize the living grid,” Blake asked a very simple question: “What is a game?” “A game is a system of rules that organize behavior,” Blake said. “What’s delightful is seeing somebody operate within those rules and yet do this unexpected thing.” 
    Read More in the New Yorker

    Post Date: 08-30-2022
  • Andy Robert Joins Bard College Faculty as Visiting Artist in Residence

    Andy Robert Joins Bard College Faculty as Visiting Artist in Residence

    Bard College’s Division of Arts is pleased to announce the appointment of painter Andy Robert as Visiting Artist in Residence in the Studio Arts Program for the fall 2022 semester.

    Andy Robert (b. 1984, Les Cayes, Haiti) is a painter who conceptually negotiates abstraction with recognizable imagery; his paintings wrestle between the lyrical and the concrete. In a play of content and form, Robert’s paintings draw from a breadth of historical and personal references, which enjoys the tinkering that comes with painting pictures. Andy Robert lives and works in Brooklyn, New York.

    “I want my paintings to feel like sketches—quick with the immediacy and intimacy of a rough draft, haptic but thought out in terms of their scale, detail and consideration. As with a thumbnail, my intuitive, beginning impulses, gestural marks of dry-brushing and scraping; of adding and removing of paint and line considered and preserved and valued throughout the painting as it approaches its finish, its resolve.”

    Through experimentation he has arrived at a deeply personal and an inventive, deconstructive approach to painting that relies on the premise that images are to be bent and folded, taken apart and put back together again; and a belief that art is a philosophical means to look at and examine things—to question, test ideas, and engage with the world. And that in painting a picture something is being taken apart to put back together; there is an inherent risk in breaking it. 

    A diasporic Haitian-American immigrant and painter, Andy Robert views the world critically as a contradiction of mass-communication and increased voicelessness. Interior and contemplative —like the telling of memory or that of a song, his topographical abstractions favor a wandering, poetic ambiguity, and a breaking free that is a strategic opacity abetted by his deconstructive application of paint, mosaic-like accumulations in assemblage, exhaust and come to.  

    Recent solo exhibitions include Hannah Hoffman Gallery, Los Angeles, CA (2017). Significant group shows include MoMA PS1: Greater New York Exhibition (2021); Duro Olowu: Seeing Chicago, Curated by Duro Olowu, The Museum of Contemporary Art Chicago, IL (2020); Dirty Protest: Selections from the Hammer Contemporary Collection, Hammer Museum, Los Angeles (2019); The Beyond: Georgia O’Keeffe & Contemporary Art, Crystal Bridges Museum of American Art, Bentonville, AR (2018); and We Go as They: Artists in Residence 2016-17, Studio Museum in Harlem (2016 – 2017). 

    Robert was a special gift recipient from The Estate of Pierre Guyotat (2021); the recipient of the Benny Andrews Fellowship for the MacDowell Residency in Peterborough, NH (2020); a Pollock-Krasner Foundation Grant Recipient (2019); and a Foundation for Contemporary Arts Roy Lichtenstein Award Recipient (2019). 

    He was in residence at Skowhegan School of Painting and Sculpture; Skowhegan, ME (2016); the Studio Museum in Harlem, New York, NY (2016) and the Whitney Independent Study Program, New York (2015). His work is included in the permanent collections of the Museum of Modern Art, New York City, NY, the Hammer Museum, Los Angeles, CA; The Studio Museum in Harlem, New York, NY; The Blanton Museum of Art, Austin, TX; The AstrupFearnley Museum of Modern Art, Oslo, Norway; and The University of Chicago Booth School of Business, Chicago, IL.

    Andy Robert was recently named on the artist list for the 2022 edition of the Carnegie International, the United States’ oldest biennial-style show.

    Post Date: 07-11-2022
  • Chronogram Profiles the Life and Work of Harvey Fite ’30 Ahead of New Retrospective in Saugerties

    Chronogram Profiles the Life and Work of Harvey Fite ’30 Ahead of New Retrospective in Saugerties

    Best known for Opus 40, “a massive hand-built sculpture, with ramps, walls, and pedestals, covering 6.5 acres in Saugerties” and “one of the first American ‘earthworks,’” the life and work of Harvey Fite ’30 will be presented in a retrospective running June 3–July 10, 2022, at the at Emerge Gallery and Lamb Center. Ahead of the exhibition, Chronogram covered the span of Fite’s life, including the influence dyslexia had on his life and his “fierce passion” and “geniality.” “Every life is a journey, but some people voyage farther than others,” writes Sparrow, noting Fite’s ultimate goal of “[reducing] the human body to its essential form, almost the way driftwood is smoothed by the action of water.” Let the Stone Tell the Story: An Inside Look at Sculptor Harvey Fite’s Studio Work runs June 3–July 10, 2022, at Emerge Gallery and the Lamb Center in Saugerties, New York.
    Read More in Chronogram

    Post Date: 06-21-2022
  • Hannah Bronfman ’11 Spoke with Ebony on Destigmatizing Conversations about Fertility and Black Maternal Mortality Rates

    Hannah Bronfman ’11 Spoke with Ebony on Destigmatizing Conversations about Fertility and Black Maternal Mortality Rates

    “Something this common needs to be normalized and talked about,” says Hannah Bronfman ’11 in an interview with Ebony. Bronfman chronicled her three-year fertility journey, including a painful miscarriage, on YouTube and Instagram, an experience she says helped her feel less alone. “So many of us suffer in silence and this kind of just felt like the appropriate thing to be discussing and emphasizing that there’s no shame in this journey,” she says. With the help of a doula and an OB she trusted, Bronfman had a safe vaginal birth at a private facility, an experience, she emphasized, she did not take for granted. “Obviously, that’s not what most Black women experience, and I want to do everything I can to speak out, bring awareness to the lack of access, and share resources to people who need them.”
    Read More in Ebony

    Post Date: 05-17-2022

Studio Arts Events

  • 3/27
    Monday

    Monday, March 27, 2023
    With Beka Goedde's Printmaking II class, Rebecca Yoshino, and guest speaker Lucille Grignon of Ancient Roots Homestead
    Montgomery Place Greenhouse 11:00 am – 12:30 pm EDT/GMT-4
    Seed a traditional dye garden for making natural pigments and dyes to be grown, processed, and used on Bard campus.

    11:00 am – 12:30 pm EDT/GMT-4 Montgomery Place Greenhouse
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2023

Tuesday, February 21, 2023
Bard Studio Arts Spring 2023 Lecture Series
Fisher Studio Arts Building  5:40 pm – 7:00 pm EST/GMT-5
Mark Thomas Gibson’s personal lens on American culture stems from his multifaceted viewpoint as an artist—as a black male, a professor, and an American history buff. These myriad and often colliding perspectives fuel his exploration of contemporary culture through languages of drawing, painting, print, and sculpture revealing a vision of a satirical, dystopian America where every viewer is implicated as a potential character within the story.

Mark Thomas Gibson (b. 1980, Miami, FL) received his BFA from The Cooper Union in 2002 and his MFA from Yale School of Art in 2013. He is represented by M+B in Los Angeles and Loyal in Stockholm. In 2016, he co-curated the traveling exhibition Black Pulp! with William Villalongo. Gibson has released two artist books, Some Monsters Loom Large (2016) and Early Retirement (2017). In 2021, Gibson was awarded residencies at Yaddo and the Elizabeth Murray Artist Residency and had his most recent solo exhibition Don’t Let Me Be Misunderstood at M+B Los Angeles. He was also awarded a Pew Fellowship from the Pew Center for Arts and Heritage, Philadelphia, PA and a Hodder Fellowship from Lewis Center for the Arts, Princeton University, Princeton, NJ. Gibson was most recently awarded a 2022 Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation, New York, NY.


Monday, February 6, 2023
Only 30 minutes and there'll be popcorn!
Campus Center, Weis Cinema  6:00 pm – 6:30 pm EST/GMT-5
Join us for a film screening about the Wooden Funeral Sculpture Program, an initiative supported by OSUN's Center for Human Rights and the Arts. This program aims to preserve the culturally significant Tomb House Statues in Kon Tum, Vietnam, and to introduce the value of this folk art to younger Indigenous people and the public. The program is currently seeking submissions from young artists for its Wooden Funeral Sculpture Exhibition in Vietnam in 2023.


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