American and Indigenous Studies

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Peter L’Official’s Essay “Black Builders” Published in Places Journal

Peter L’Official, associate professor of literature and director of the American and Indigenous Studies Program, has published “Black Builders,” an article exploring the relationship between both writing and architecture, and race and design, for Places Journal. In examining the works of visionary Black architect and urban planner W. Joseph Black (1961–1977), who tragically died of cancer at age 43, novelist Colson Whitehead, and other scholars and writers, L’Official asks: “What do we learn about visions of cities when we consider writing and architecture as mutually defining?” L’Official delves deeply into Black’s archives and grapples with his brilliant unfinished masterpieces including the ambitious Harlem Music Center and Gateway to Harlem complex, as well as two comprehensive volumes Visions of Harlem, intended as an exhibition and catalogue, and Black Builders of America, a compendium focused on the many known and unknown Black builders dating back from 1619 to the contemporary. Inspired by the career and legacy of W. Joseph Black, L’Official proposes a notion: “writing about architecture is also a method of practicing architecture—that is, by thinking it.” In contemplating “how many works by Black architects, planners, builders, and other dreamers lie dormant, still, in archives, or tossed by the wayside in frustration, never to be lauded as great works of even speculative imagination?” L’Official asserts “We should also expand our notions of who and what Black builders and Black building can be—and, indeed, of what it means to ‘build’ in the first place.”

L’Official’s “Black Builders” is the first essay in An Unfinished Atlas, a series funded by the Mellon Foundation and published by Places Journal that brings together scholars, cultural critics, essayists, and novelists of color to enrich the cultural record of place-based narratives across what is now called North America.

Post Date: 11-05-2024

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Bard Professor Christian Ayne Crouch Participates in “Unsettled Landscapes” Roundtable Discussion

Christian Ayne Crouch, dean of graduate studies and associate professor of history and American and Indigenous studies at Bard College, participated in a roundtable conversation with Alan Michelson, an artist and Mohawk member of the Six Nations of the Grand River, and Dr. Scott Manning Stevens, who is a citizen of the Akwesasne Mohawk Nation and curator of the exhibit Native Prospects: Indigeneity and Landscape, featuring works by Michelson and other contemporary Indigenous artists. The event, “Unsettled Landscapes,” was sponsored by the Bard College Center for Indigenous Studies and took place at the Thomas Cole National Historic Site in Catskill, where Native Prospects is on display. In presentations, Stevens and Michelson examine the concepts of landscape, wilderness and the Sublime in western artistic tradition, and offer perspective on how fundamentally these notions differ in Native American modes of thought. “What I wanted to do, then, in the exhibition that’s up, is bring in both older representations of Native people thinking of landscape and abstract, lived experience ways, and then contemporary expressions of landscape,” said Stevens. “Because, it’s not that we don’t love the landscape—we love the beauty of it. But it’s not a commodity which we frame and own, but much more reflect on the experience of living in.”

Post Date: 10-15-2024

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Wihanble S’a Center at Bard College Receives $500,000 Grant and Named NEH Humanities Research Center on Artificial Intelligence

Bard College is pleased to announce that the Wihanble S’a Center for Indigenous AI, directed by Dr. Suzanne Kite, distinguished artist in residence and assistant professor of American and Indigenous Studies, has been designated as a Humanities Research Center on AI by the National Endowment for the Humanities (NEH). This prestigious recognition will confer a $500,000 grant in support of the Center, and position Wihanble S’a at the forefront of innovative research that integrates Indigenous Knowledge systems with cutting-edge artificial intelligence (AI) technologies.

Beginning in Fall 2024, the Wihanble S’a Center will embark on groundbreaking research aimed at developing ethical AI frameworks deeply rooted in Indigenous methodologies. The Center’s mission is to explore and address the ethical, legal, and societal implications of AI through an Indigenous lens, ensuring that AI technologies reflect diverse perspectives and contribute positively to society.

“This award is a tremendous honor and a recognition of the importance of American Indian perspectives in the rapidly evolving fields of AI,” said Dr. Kite, who is an award-winning Oglála Lakȟóta artist and academic, and Bard MFA ’18 alum. “Our goal is to develop ethical methodologies for systems grounded in Indigenous knowledge, offering new guidelines and models through collaboration between Indigenous scholars and AI researchers, challenging the predominantly Western approach to AI. Wihanble S’a (WEE hah blay SAH) means dreamer in Lakota, and we are dreaming of an abundant future.”

The NEH designation will support the Center’s initiatives, including the establishment of a dedicated facility on Bard College’s Massena Campus. This facility will serve as a collaborative hub, bringing together scholars from across diverse academic disciplines—including computer science, cognitive and neuroscience, linguistics, ethics, and Indigenous Studies—to engage in interdisciplinary research and educational activities.

In addition to research, the Center will host public events, workshops, and an interdisciplinary Fellowship and Visiting Scholars program, all aimed at advancing the field of Indigenous-informed AI. The Center’s work will complement the recruitment and support of Indigenous students ongoing at Bard’s Center for Indigenous Studies, enhancing Bard College’s commitment to being a leader in Indigenous studies in the United States as well as complementing Dr. Kite’s work with the international Abundant Intelligences Indigenous AI research program. Wihanble S’a Center’s designation as an NEH Humanities Research Center on AI underscores Bard College’s dedication to fostering innovative, socially responsible research that bridges the humanities and technological advancements.

Post Date: 08-28-2024

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Professor Susan Fox Rogers Leads Community Birding Walks on Cruger Island Road as Profiled in the Daily Catch

This spring, Susan Fox Rogers, visiting associate professor of writing, is leading Monday morning birding walks from 7 to 9 am down Cruger Island Road on Bard College’s campus. The walks, which will continue through May 27, draw an intergenerational audience and are part of a greater environmental education initiative at the Red Hook Public Library, where Rogers is the inaugural Ascienzo Naturalist in Residence. Typically, participants will spot at least four of the Hudson Valley’s most common birds: robins, chickadees, tufted titmouses, and white-breasted nuthatches. On occasion, birders will spy more unusual specimens. “On these morning walks, we have seen eagles and listened to winter wrens, spied a rare rusty blackbird with its blazing white eyes, and delighted in the wood ducks crying as they take flight,” Rogers says. Biology major William Mennerick ’25, who took up birding during the pandemic, enjoys the walks. “I love birds,” he said. “I savor the weekly evolution of the landscape over spring. It’s amazing when vegetation starts to come in and then we wait for the spring chorus of songbirds, all at once.”

Post Date: 04-16-2024

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Bard College Presents Returning Home: A Contemporary Native Photography Exhibition, on View April 6–12 at Montgomery Place Mansion

Rethinking Place: Bard-on-Mahicantuck and Montgomery Place Mansion at Bard College proudly hosts Returning Home, an exhibition curated by Rethinking Place Post-Baccalaureate Fellow Olivia Tencer ’22 and Rethinking Place Administrative Coordinator Melina Roise ’21, open from April 6 to 12, 2024. This groundbreaking exhibition features works by four contemporary Indigenous photographers, Kali Spitzer (Kaska Dena/Jewish), Dana Claxton (Wood Mountain Lakota First Nations), Cara Romero (Chemehuevi Indian Tribe), and Wendy Red Star (Apsáalooke (Crow)), along with a written commission by Bonney Hartley (Stockbridge-Munsee Mohican) and archival records of local land transfers and the United States’ Indian boarding school history. The exhibition, centered around narratives of Indigenous families, particularly women and children, will delve into the experiences of Native peoples facing settler colonialism, focusing specifically on Indigenous child removal practices and policies.

Returning Home aims to highlight Indigenous representation, narrative, survivance, futurism, and resilience through contemporary Native art. The show will include pieces from the Forge Project’s collection, as well as a written commission from Bonney Hartley, who is an MFA candidate at Institute of American Indian Arts. An accompanying publication will provide in-depth contextualization of land dispossession in the United States, forced removal of Native peoples in New York State, and the impact of Indian boarding schools.

The exhibition will fill various rooms within the historic Montgomery Place mansion, situated on Bard College’s 380-acre estate. While the estate is renowned for its ties to the Livingston family, Montgomery Place is committed to exploring marginalized histories, including the forced removal of the Stockbridge-Munsee Community and the estate’s use of enslaved African American labor.

On the exhibition, Tencer writes: “This will be the first exhibition in the mansion, and the first exhibition on campus that will discuss the forced removal of the Stockbridge-Munsee peoples on current Bard lands or the Livingston’s history as one intertwined with the land dispossession of Native people in the Hudson Valley and other land bases in the East Coast. Positioned as an intervention, Returning Home disrupts preconceived notions of Native people, specifically Native women, and makes visible purposefully erased historical narratives of land and wealth accumulation in New York State.”

“I am grateful for all the support my artwork and cultural work has received. I am indebted to the sun and my sundance teachings – mni ki wakan – water is sacred,” says artist Dana Claxton.

The exhibition is free and open to the public.

On behalf of the curators and Rethinking Place team, we would like to extend gratitude to The Mellon Foundation, Hudson Valley Greenway, Forge Project, and Montgomery Place Historic Estate for making this exhibition possible. 

Exhibition Viewing Hours:
April 6 and 7, 1:00pm–5:00pm (timed entry every half hour - register here)
April 10 to 12, 1:30pm–4:00pm (timed entry every half hour - register here)

Schedule of Events:
April 6, 1:30pm: Opening Remarks & Activation, poetry reading by Bonney Hartley. Doors open at 1:00pm. Registration required. Register here.
April 6, 4:00pm: Cara Romero in conversation with Suzanne Kite. Registration required. Register here.
April 7, 3:00pm: Dana Claxton Artist Talk, on zoom, seating available at MP visitor’s center. Register for the zoom talk here.
April 10, 6:30pm: Cara Romero: Following the Light, Preston Cinema, Bard College. A short documentary on the work & practice of Cara Romero. No registration required.

Post Date: 03-20-2024

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Bard College Hosts Zambian Writer and Harvard Professor Namwali Serpell as Rethinking Place: Bard-on-Mahicantuck Quinney-Morrison Lecturer on April 11

This April, Zambian writer and Professor of English at Harvard Namwali Serpell will deliver the Quinney-Morrison Lecture at Bard College. Sponsored by Rethinking Place: Bard-on-Mahicantuck, a Mellon Foundation Humanities for All Times project, the Quinney-Morrison Lecture Series celebrates the work of both Electa “Wuhwehweeheemeew” Quinney, a citizen of the Stockbridge-Munsee Mohican nation and the first woman to teach in a public school in the territory which would become Wisconsin; and the American novelist, essayist, and editor, Toni Morrison, who was a Distinguished Visiting Lecturer at Bard College from 1979-1981. Serpell will present the lecture “Unnoticed and as Beautiful: The Native American Figure in Toni Morrison’s Literature” on Thursday, April 11 at 3:00 pm ET in Olin Auditorium at Bard College. The lecture will be followed by a reception catered by Samosa Shack Kingston beginning at 4:30 pm ET. A recording of the lecture will be available upon request.

On the lecture, Serpell writes: “Scholars have been concerned either to criticize or to praise Morrison’s sparing inclusion of Native Americans in her novels. Are they beneath her notice? Or have they gone unnoticed by us? Following Morrison’s own methods in arguing that the ‘real or fabricated’ ‘Africanist presence’ in white American literature is crucial to writers’ ‘sense of Americanness,’ we might pursue how the ‘Native American presence’ works in her literature not only in historical and political terms, but also in aesthetic and cultural terms. This talk considers how, across her oeuvre and career, the Native American figure—meaning literary character; racial type; literary trope; and silhouette or profile—shapes her ‘sense of blackness.’” Serpell is the author of Seven Modes of Uncertainty (Harvard, 2014), The Old Drift: A Novel (Hogarth, 2019), Stranger Faces (Transit, 2020), and The Furrows: An Elegy (Hogarth, 2022).

The Quinney-Morrison Lecture Series invites luminaries from the fields of Native American and Indigenous Studies, American Studies, and Black Studies to give one lecture each fall and spring semester, hosted by Bard within the American and Indigenous Studies Program, as part of Rethinking Place: Bard-on-Mahicantuck’s public programming initiatives. The goal of the Quinney-Morrison Lecture Series is to provide opportunities for academics and other regional partners to learn what work needs to be done in the creation of land acknowledgement projects. They also create space for reflection in individuals’ relationships with spaces, lands, and borders to dissuade action without reflection. In 2023, Professor Glenda Carpio presented “Migrant Aesthetics” as the inaugural Morrison lecture for Rethinking Place. Learn more here.
About Rethinking Place: Bard-on-Mahicantuck
Bard’s “Rethinking Place: Bard-on-Mahicantuck” project affirms Bard’s tangible commitments to the principles and ideals of the College’s 2020 land acknowledgment and is supported by the Mellon Foundation’s 2022 Humanities for All Times. The Mellon grant offers three years of support for developing a land acknowledgment–based curriculum, public-facing Native American and Indigenous Studies (NAIS) programming, and efforts to support the work of emerging NAIS scholars and tribally enrolled artists at Bard. Rethinking Place emphasizes broad community-based knowledge, collaboration, and collectives of inquiry and also attends to the importance of considering the Stockbridge-Munsee Band of Mohican Indians, upon whose homelands Bard sits. For more information, please visit rethinkingplace.bard.edu.

Bard College’s Land Acknowledgement, developed in dialogue with the Stockbridge-Munsee Band of Mohican Indians.

In the spirit of truth and equity, it is with gratitude and humility that we acknowledge that we are gathered on the sacred homelands of the Munsee and Muhheaconneok people, who are the original stewards of the land. Today, due to forced removal, the community resides in Northeast Wisconsin and is known as the Stockbridge-Munsee Community. We honor and pay respect to their ancestors past and present, as well as to future generations, and we recognize their continuing presence in their homelands. We understand that our acknowledgement requires those of us who are settlers to recognize our own place in and responsibilities toward addressing inequity, and that this ongoing and challenging work requires that we commit to real engagement with the Munsee and Mohican communities to build an inclusive and equitable space for all.

To learn more about the Stockbridge-Munsee Community, please visit www.mohican.com. 

Rethinking Place: Bard-on-Mahicantuck encourages all members of the Bard community and visitors to Bard’s Campus to please consider financially supporting the ongoing and essential work of the Mohican Cultural Affairs Department. Donations may be made here.

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 more than 40 academic programs; graduate degrees in 13 programs; eight early colleges; and numerous dual-degree programs nationally and internationally. Building on its 163-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.

Post Date: 03-19-2024

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Whitney Biennial 2024 to Feature Bard College Faculty and Alums

Bard College faculty members and alums will be among the 71 artists and collectives selected to participate in this year’s Whitney Biennial, the 81st installment of the landmark exhibition series. Whitney Biennial 2024: Even Better Than the Real Thing opens on March 20. Works by Visiting Assistant Professor of Music Sarah Hennies; Assistant Professor of American and Indigenous Studies, Distinguished Artist in Residence in Studio Arts, and Bard MFA Faculty in Music/Sound Kite MFA ’18; and Bard MFA Faculty in Sculpture Lotus Laurie Kang MFA ’15 will be featured alongside those by alums Diane Severin Nguyen MFA ’20, Carolyn Lazard ’10, and Eddie Rodolfo Aparicio ’12. The Center for Curatorial Studies, Bard College graduate Min Sun Jeon CCS ’22 helped to organize the exhibition.

The 2024 Whitney Biennial is organized by Chrissie Iles (Anne and Joel Ehrenkranz Curator) and Meg Onli (Curator at Large), with Min Sun Jeon CCS ’22 and Beatriz Cifuentes. The performance program is organized by Iles and Onli, with guest curator Taja Cheek. The film program is organized by Iles and Onli, with guest curators Korakrit Arunanondchai, asinnajaq, Greg de Cuir Jr, and Zackary Drucker.

“After finalizing the list of artists last summer, we have built a thematic Biennial that focuses on the ideas of ‘the real,’” write the curators. “Society is at an inflection point around this notion, in part brought on by artificial intelligence challenging what we consider to be real, as well as critical discussions about identity. Many of the artists presenting works—including via robust performance and film programs—explore the fluidity of identity and form, historical and current land stewardship, and concepts of embodiment, among other urgent throughlines, and we are inspired by the work they are creating and sharing.”

Post Date: 01-29-2024