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Donna Ford Grover, visiting associate professor of literature and American studies. Photo by Chris Kayden
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The Family Programs Office sends out a monthly e-newsletter, Annandale Insider, as well as important messages from the College and news on networking events, student and faculty achievements, and more.
The Family Programs Office sends out a monthly e-newsletter, Annandale Insider, as well as important messages from the College and news on networking events, student and faculty achievements, and more.
News and Events
Two Bard Alumnae Christine Sun Kim MFA ’13 and Layli Long Soldier MFA ’14 Named 2026 MacArthur Fellows
“For 45 years, MacArthur Fellows have defied boundaries, by questioning conventions, crossing disciplines, and driving collective progress.”
Two Bard Alumnae Christine Sun Kim MFA ’13 and Layli Long Soldier MFA ’14 Named 2026 MacArthur Fellows
L-R: Bard alumnae Christine Sun Kim MFA ’13 and Layli Long Soldier MFA ’14 have been named 2026 MacArthur Fellows. Photos courtesy of the John D. and Catherine T. MacArthur Foundation
In a statement about Kim’s work, the MacArthur Foundation says, “Across a varied body of work that includes drawings, large-scale murals, video, and interactive installations, Kim creates visual and conceptual representations of sound. She engages with the complexities deaf people experience in a world that prioritizes sound and spoken forms of communication.”
The MacArthur Foundation says about Long Soldier’s work, “Across her widely experimental, yet accessible, body of work, Long Soldier interrogates the colonial violence inflicted on Native Americans. At the same time, she celebrates the beauty, love, and resilience passed down through generations and communities by way of care and tradition.”
The MacArthur Fellowship is a no-strings-attached award for extraordinarily talented and creative individuals as an investment in their potential. There are three criteria for selection of MacArthur Fellows: exceptional creativity, promise for important future advances based on a track record of significant accomplishments, and potential for the fellowship to facilitate subsequent creative work. Recipients may be writers, scientists, artists, social scientists, humanists, teachers, entrepreneurs, or those in other fields, with or without institutional affiliations. Although nominees are reviewed for their achievements, the fellowship is not a lifetime achievement award, but rather an investment in a person’s originality, insight, and potential.
MacArthur Fellows receive $800,000 stipends that are bestowed with no conditions; recipients may use the money as they see fit. Nominated anonymously by leaders in their respective fields and considered by an anonymous selection committee, recipients learn of their selection only when they receive a call from the MacArthur Foundation just before the public announcement.
“For 45 years, MacArthur Fellows have defied boundaries, by questioning conventions, crossing disciplines, and driving collective progress. The 2026 Fellows continue that creative tradition—they explore the depths of our humanity; they reveal untold origins to modern challenges; they expand the edges of scientific inquiry and life-saving research. They show us new ways to understand the world,” says Kristen Mack, Vice President, Communications, MacArthur Fellows, and Partnerships.
Christine Sun Kim received a BS (2002) from the Rochester Institute of Technology and MFAs from the School of Visual Arts (2006) and Bard College (2013). Her work has been exhibited at such venues as the National Museum of Modern and Contemporary Art (Seoul, South Korea); the Walker Art Center (Minneapolis, MN); the Whitney Museum of American Art (New York, NY); Contemporary Art Gallery, Vancouver (Canada); the Art Institute of Chicago; Secession (Vienna, Austria); and the Museum of Modern Art (New York, NY).
In the participatory sound-based work Game of Skill 2.0 (2015), Kim foregrounds the labor involved in listening, typically considered a passive mode of engagement. For this installation, an individual must painstakingly maneuver a handheld device to make it emit a spoken word text written by the artist. An arm topped with a magnet extends from the device, and participants must carefully keep it in contact with wires stretched across the gallery as they move through the space. How a participant holds the device, moves, or walks affects how the audio is emitted. Kim’s Degrees of Deaf Rage (2018-2019) series is a candid and humorous accounting of the difficulties deaf people face in scenarios where the ability to hear is taken for granted. The series comprises charcoal and oil pastel drawings of geometric angles that visualize Kim and her deaf friends’ frustration and anger in various institutional settings. An acute angle describes their anger when an Uber driver calls instead of texts, while a right angle indicates their “legit” rage at hotels that use fire alarms without strobe lights. A full circle (360 degrees) represents their “full on rage” when their suitcases are left on a runway after a flight attendant asks for the owner in spoken English only.
Many of Kim’s works include infographics, musical notation, and her own graphic lexicon. The mural Prolonged Echo (2023) features black arching forms against a white background, evoking the American Sign Language (ASL) sign for “echo.” The source material for the drawing is illegible to a viewer unfamiliar with ASL, replicating deaf people’s experience of receiving information in echo form; everything is repeated, with more or less detail. This reflects the fact that deaf people do not have direct access to the source of spoken communication and must rely on intermediaries like sign language or writing. Another large-scale mural, Ghost(ed) Notes (2024), depicts musical notes falling outside of and around four-line staves, indicating rhythm without discernable pitch and prompting reflection on omissions and breakdowns in communication. Kim’s work powerfully conveys the experiences of deaf people and opens up new ways of understanding sound and hearing.
Layli Long Soldier received a BFA (2009) from the Institute of American Indian Arts and an MFA (2014) from Bard College. Her poems have appeared in the documentary film Lakota Nation vs. United States (2022) and such publications as Poetry Magazine, BOMB, and The Kenyon Review, among others. She has taught at Diné College, the Iowa Writer’s Workshop, Randolph College, and the Institute of American Indian Arts, and she was the endowed chair of creative writing at Texas State University (2024-2025). Long Soldier is a citizen of the Oglala Lakota Nation.
In her collection Whereas (2017), Long Soldier uses a variety of poetic forms and textual manipulations that draw attention to the materiality of language: words arranged into geometric shapes, crossed out text, blank spaces, words for punctuation written out in place of punctuation marks. In many poems, she quotes, revises, and repurposes text from congressional statements, newspaper articles, and historical studies, unmasking acts of violence, theft, and erasure that legalistic and sanitized language obscures. For example, the prose poem “38” ponders the role of language in the hanging of 38 Dakota men in 1862 after the so-called Sioux uprising. The poem clarifies that the uprising occurred as the Dakota People were starving after a series of opaque treaties—forged and repeatedly broken by the U.S. government—took their land and livelihood. The centerpiece of Whereas is the titular poem, in which Long Solider responds to the 2009 Congressional Resolution of Apology to Native Americans. She juxtaposes the impersonal legalese of the text with Lakota traditions and cultural teachings, revealing the continued conflict between two opposing worldviews.
Long Soldier also has created several works that present poetry in visual media such as sculpture and video. For example, Long Soldier’s Obligations series of poems began as a hanging sculptural piece. The sculpture emulates a Lakota star quilt, with each diamond-shaped point of the star containing a poem from the series. The words of each poem can be read in multiple directions, creating many different iterations; likewise, the points of the star can be rearranged within the star configuration, adding new dimensions to the poems’ consideration of what we owe each other and how to remain in relationship with one another. The Obligations series will appear in printed form in Long Soldier’s forthcoming collection, We (October 2026). Through her eclectic body of work, Long Soldier demonstrates the power of poetry to articulate our past and build a better future.
Post Date: 09-29-2026
Visiting Artist Tschabalala Self ’12 Profiled in L’Officiel
“I’m interested in the ways people build their own worlds around my work and see a part of themselves,” Self said.
Visiting Artist Tschabalala Self ’12 Profiled in L’Officiel
Tschabalala Self ’12. Photo by Paula Virta
In an overview of Self’s artistic career, L’Officiel notes that her sculpture and textile work has appeared in exhibitions from MOMA PS1 to the Yuz Museum in Shanghai. “Self weaves figures that feel both invented and strikingly familiar,” writes Osman Can Yerebakan for L’Officiel. “In just a few years, she [has] established herself as one of the most closely watched artists of the last decade.”
Post Date: 09-15-2026
Visiting Artist Tschabalala Self’s ’12 Lady In Blue Unveiled in London’s Trafalgar Square and Featured in the Guardian
The sculpture is “a beacon that could shed light into a possible future,” Self says.
Visiting Artist Tschabalala Self’s ’12 Lady In Blue Unveiled in London’s Trafalgar Square and Featured in the Guardian
Tschabalala Self’s sculpture Lady In Blue.
The Guardian also featured Self in advance of Lady in Blue’s unveiling. Speaking about the sculpture, which the artist describes as an image of an everywoman striding forward into the future, and “a beacon that could shed light into a possible future,” she says, “it’s about there being space for all in places that were formerly weighted down by antiquated gestures, belief systems and impossibilities." The Guardian describes her work as “a lurid, vivid, super-colourful, mega-joyful celebration of everyday bodies” embodying “simplicity, joy, and above all freedom.” Lady in Blue will remain on the plinth for two years.
Self is a visiting artist in Bard’s Studio Arts Program, which provides a breadth of expanded offerings while retaining a strong core of courses that provide a firm grounding in basic techniques and principles, in an era when much contemporary art cannot be contained within the traditional categories and technology is transforming the production of visual images.
Post Date: 09-09-2026