Faculty and Staff

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Ephraim Asili

BA, Temple University; MFA, Bard College. Ephraim Asili is an African American artist, filmmaker, DJ, and traveler whose work focuses on the African diaspora as a cultural force. His childhood and adolescence were imbued with hip-hop music, Hollywood movies, and television. Often inspired by his day-to-day wanderings, Asili creates art that situates itself as a series of meditations of 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 is currently the director of the Film and Electronic Arts Program at Bard College, where he is also an associate professor teaching film production and film studies.

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 feature debut, The Inheritance, premiered at the 2020 Toronto International Film Festival. The Inheritance was recently acquired by the Whitney Museum of American Art for its permanent collection and is currently in distribution with Grasshopper Films. In 2020, Asili was named as one of “25 New Faces of Independent Film” by Filmmaker magazine. In 2021, Asili was a 2021 John Simon Guggenheim Memorial Foundation recipient. Most recently, Asili directed the short film, Strange Math, and a live fashion show at the Louvre for Louis Vuitton.

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Ben Coonley

B.A., Brown University; M.F.A., Milton Avery Graduate School of the Arts, Bard College. Media artist working in video, installation, stereoscopic 3D, VR, digital animation, and live performance. His work has been exhibited at LACMA; Whitney Museum of American Art; Film Society of Lincoln Center; MoMA PS1; Performa; Microscope Gallery, Brooklyn; Moscow Biennale; Images Festival, Toronto; and the New Museum of Contemporary Art; among others. Previously taught at Princeton University, Parsons The New School for Design, and the New School MA in Media Studies Program. At Bard since 2010.

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Joshua Glick

BA, Cornell University; MA/PhD, Yale University. Joshua Glick is a film and media studies scholar focusing on the comparative histories of film, television, and radio; nonfiction media; race and representation; and the civic uses of emerging technology. He is the author of Los Angeles Documentary and the Production of Public History (University of California Press, 2018). His articles and reviews have appeared in Film History, Afterimage, Wired, Film Quarterly, Jump Cut, the Moving Image, and the Historical Journal of Film, Radio, and Television. His current book project explores how the rising interest in nonfiction on both the left and right of the political spectrum has transformed the relationship between Hollywood, Silicon Valley, and Washington, D.C. In collaboration with the Center for Advanced Virtuality at MIT, he designed the interactive online curriculum, Media Literacy in the Age of Deepfakes. Glick also co-curated Deepfake: Unstable Evidence on Screen, an exhibition at the Museum of the Moving Image in New York.

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Jacqueline Goss

B.A., Brown University; M.F.A., Rensselaer Polytechnic Institute.
  
A filmmaker, animator, and sound artist, Jacqueline Goss uses a broad range of tools and genres to explore the historical writings of scientists in an attempt to see how their work may still change the ways we think about ourselves and our contemporary world.

Projects include the animated documentary Stranger Comes To Town about the impact of biometric systems on immigrants to the US; a feature-length film about a weather observatory located on the windiest mountain in the world (The Observers); and OR119, a theoretical musical about radical thinker Wilhelm Reich

Her work has shown at the Museum of Modern Art in New York, the New York Film Festival, London Film Festival, and International Film Festival at Rotterdam, among many other venues. Her work has been supported by the Rockefeller Foundation, the Alpert Foundation, Macdowell, and Creative Capital.  She has taught at Bard since 2001.

A full cv is here.

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Brent Green

Living outside of Red Hook, NY with his kids, Brent Green is a self-taught visual artist and filmmaker. Green’s films have screened, often with live musical accompaniment, in film and art settings alike at venues such as MoMA, BAM, The Getty, Walker, Hammer Museum, The Kitchen, Boston MFA, Wexner, Indianapolis Museum of Art, Rotterdam Film Festival, Sundance Film Festival as well as rooftops, warehouses and galleries throughout the globe. Often, his sculptural work and large-scale installation are displayed alongside his animated films, he’s had solo exhibitions at a bunch of places including the ASU Art Museum, Site Santa Fe, The Kohler Arts Center and the Berkeley Art Museum. Green’s work has been supported by Creative Capital, the Sundance Institute, San Francisco Film Society and the MAPfund.  His art is in some fine public collections including MoMA, the Hammer Museum and the American Folk Art Museum. Green is represented by the Andrew Edlin Gallery in NYC. At Bard since 2018.

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Ed Halter

Visiting Professor at the Center for Curatorial Studies; Director, Bard Memetics Laboratory

B.A., Yale University; M.A., New York University. Ed Halter is a writer and curator living in Brooklyn. He is a founder and director of Light Industry, an internationally-renowned venue for cinema in Brooklyn, which he has helped run since 2008. He is the author of From Sun Tzu to Xbox: War and Videogames (2006) and editor of Mass Effect: Art and the Internet in the Twenty-First Century (2015, with Lauren Cornell) and From the Third Eye: The Evergreen Review Film Reader (2018, with Barney Rosset); as part of Light Industry, he has published definitive new editions of Stan Brakhage’s Metaphors on Vision (2017), Peggy Awhesh’s The Films of Doris Wishman (2019) and Michael Snow’s Cover to Cover (2020). His film, art, and media criticism has been published by 4Columns, Artforum, the Criterion Collection, Computer Gaming World, The New Yorker, the Metropolitan Museum of Art, Rhizome, The Village Voice, and many others, and he has contributed essays for major exhibitions like Jonas Mekas: The Camera Was Always Running (The Jewish Museum / Lithuanian National Gallery of Art, 2021-22), Huma Bhabha: They Live (ICA Boston, 2019), Seth Price: Social Synthetic (Stedelijk, 2017), and Danny Lyon: Message to the Future (Fine Arts Museum of San Francisco / Whitney Museum, 2016). His writing has been awarded an Arts Writers Grant from the Andy Warhol Foundation for the Visual Arts (2009) and the Arts Writing Award in Digital Art from the Carl & Marilynn Thoma Foundation (2017). 
From 1995 to 2005, he programmed and oversaw the New York Underground Film Festival, and has curated screenings, conferences, festivals, and exhibitions at Anthology Film Archives, Artists Space, BAMcinématek, Bard Graduate Center Gallery, the Brakhage Symposium at University of Colorado Boulder, the Dallas Museum of Art, the Flaherty Film Seminar, the ICA, London, the International Short Film Festival Oberhausen, Miguel Abreu Gallery, the Museum of Modern Art, New York,  the New Museum, PARTICIPANT INC., the Philadelphia Museum of Art, Tate Modern, and the Walker Art Center, as well as curating the film components of Greater New York 2010 at MoMA PS1 and the 2012 Whitney Biennial. 
He has taught at Bard since 2005; since 2019, he has served as faculty director of the Bard Meme Lab.

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A. Sayeeda Moreno

BA, Empire State University of New York, New York City; MFA, New York University’s Tisch School of The Arts, Dean’s Fellow; additional studies at New School’s Actors Studio Drama School. Professor Moreno is a director and screenwriter whose works have screened at SXSW, Tribeca Film Festival, BAMCinemaFest, and MOCADA Museum, among other venues. Professor Moreno is a Tribeca All Access, Sundance Women in Finance, and Film Independent fellow. Her short film White — the inspiration for her Athena List winning feature-length script received a San Francisco Film Society/Hearst Screenwriting Grant. Whitewasfunded by ITVS for the acclaimed Futurestates.tv series and is also available at PBS.org. Anothershort film, Sin Salida, aired on HBO/HBO Latino for two years and was a finalist at the American Black Film Festival. The Grey Woman premiered at Lincoln Center and won the Hallmark Channel short film competition. Her feature length script I’m Not Downis an AT&T & Tribeca Untold Stories Grant Recipient. Additional films include Binaand toy/tag/ break, a short film in Bushwisk Beats, an anthology feature of short films by six directors produced by Circle of Confusion that will premiere in 2019. She previously taught at Montclair State University and City University of New York, and served as lecturer at Cornell University, Williams College, and Marist College, and as teaching artist at The Pelham Picture House. At Bard since 2018.

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Alison Nguyen

BA, Brown University; MFA, Columbia University; Whitney Independent Study Program Studio Fellow 2023-2024. Alison Nguyen is visual artist and filmmaker working across video, installation, performance, and sculpture. Her practice combines the particulars of the personal with an exploration into broader forces of history, specifically those entwined with technology. 

Nguyen’s work has been presented at the Museum of Modern Art; MIT List Center for Visual Arts; National Museum of Modern and Contemporary Art Korea; Vienna Secession; The Everson Museum; The Dowse Art Museum; e-flux; The International Studio & Curatorial Program; Murmurs; op.cit.; Signs and Symbols; KAJE; Microscope Gallery; Ann Arbor Film Festival; International Film Festival Oberhausen; CPH:DOX; Edinburgh International Film Festival; True/False Film Festival; Open City Documentary Festival; and Channels Festival International Biennial of Video Art, among others. 
Alison Nguyen has received residencies and fellowships from the Whitney Independent Study Program, International Studio & Curatorial Program, The Institute of Electronic Arts, BRIC, and Squeaky Wheel Film and Media Art Center. She has been awarded grants from the NYFA Artist Fellowship in Film/Video, NYSCA, Wave Farm’s Media Art Assistance Fund, the Foundation for Contemporary Art, and The New York Community Trust. In 2018 Alison Nguyen was featured in Filmmaker Magazine’s “25 New Faces of Independent Film.” Her work has been reviewed in publications such as e-flux, Frieze, The Brooklyn Rail, and Art Papers.

Nguyen has taught as an adjunct professor in Steinhardt’s BFA Studio Art program at New York University. She has been a Guest Lecturer and Visiting Critic at numerous institutions and organizations including Saas Fee Summer Institute of Art; Cooper Union; University of Buffalo; The New School; Rhode Island School of Design; The University of Syracuse; The School of Visual Arts; and Sotheby’s Institute of Art.

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Fiona Otway

BA Hampshire College; MFA Temple University. Fiona Otway is a documentary filmmaker whose work explores complex social issues, the intersection of power and storytelling, as well as how culture can be a catalyst for transformation. Her work has been seen in film festivals, theatrical release, and television broadcast all over the world. These projects have received numerous awards and honors, including three Academy Award nominations, multiple jury prizes at Sundance Film Festival, a Grierson award, a DuPont award, International Documentary Association awards, an International Federation of Film Critics award, nominations for Spirit Awards, Gotham Awards, British Independent Film Awards, and several nominations for Cinema Eye Honors. She has been a Visiting Artist in Residence at Bard College since 2016. www.fionaotway.com

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Kelly Reichardt

Kelly Reichardt is an award-winning independent filmmaker whose most recent work, First Cow, was screened at the 2019 New York Film Festival. Other films include Certain Women, starring Laura Dern, Michelle Williams, Kristen Stewart, and Lily Gladstone, which premiered at the 2016 New York Film Festival; Night Moves (2013), Meek’s Cutoff (2010), Wendy and Lucy (2008), Old Joy ( 2006), and River of Grass (1994). Honors received include a United States Artists Fellowship, Guggenheim Fellowship, Anonymous Was a Woman Award, and Renew Media Fellowship. Her work has been screened at the Whitney Biennial (2012), Film Forum, Cannes Film Festival in “un certain regard,” Venice International Film Festival, Sundance Film Festival, Berlin International Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, and BFI London Film Festival; with retrospectives at Anthology Film Archives, Pacific Film Archive, Museum of the Moving Image, Walker Art Center, and American Cinematheque Los Angeles. She previously taught at New York University, SUNY Buffalo, Columbia University, and the School of Visual Arts.

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Masha Shpolberg

Masha Shpolberg is a film and media scholar specializing in global documentary, Central, and Eastern European cinema, ecocinema, and women’s cinema. Her first book, Labor in Late Socialism: The Cinema of Polish Workers’ Unrest, explores how filmmakers responded to successive waves of strikes by co-opting, confronting, or otherwise challenging the representational legacy of socialist realism. Together with Lukas Brasiskis, she is co-editor of Cinema and the Environment in Eastern Europe (Berghahn Books, 2023) and with Anastasia Kostina of The New Russian Documentary: Reclaiming Reality in the Age of Authoritarianism (forthcoming from Edinburgh University Press in Fall 2024). Her academic articles have appeared in Slavic and East European Journal, Studies in Eastern European Cinema, The Polish Review, NECSUS: European Journal of Media Studies, and the Historical Journal of Film, Radio, and Television. She has also contributed film criticism to Film Quarterly, Senses of Cinema, Tablet, and the Los Angeles Review of Books. She holds a PhD in film and media studies and comparative literature from Yale University.

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Richard Suchenski

B.A., Princeton University; M.A., M.Phil., joint Ph.D. (Film Studies and History of Art), Yale University. Film historian; has curated and organized retrospectives, series, traveling programs, and interdisciplinary conferences focusing on filmmakers, film movements, and particular moments from the silent era to the present at a number of venues including Bard College, Yale University, the Yale University Art Gallery, Freer and Sackler Galleries of the Smithsonian Institution, National Gallery of Art, Museum of the Moving Image, George Eastman House, Pacific Film Archive, Harvard Film Archive, UCLA Film and Television Archive, Toronto International Film Festival Cinematheque, British Film Institute, Austrian Film Museum, Munich Film Museum, Tokyo Filmex, National Museum of Singapore, Anthology Film Archives, and Princeton University. Author of Projections of Memory: Romanticism, Modernism, and the Aesthetics of Film (Oxford University Press, 2016) and editor, Hou Hsiao-hsien (Austrian Film Museum/Columbia University Press, 2014). Frequent contributor to The Moving Image and Senses of Cinema; articles published or forthcoming in Artforum (October 2015); Viewing Platform: Perspectives on the Panorama (Yale University Press, 2016); Positions: Asia Cultures Critique (2016); Ronshu Hasumi Shigehiko (Hatori Shoten, 2016); Robert Bresson (Indiana University Press, 2012); Olivier Assayas (Austrian Film Museum/Columbia University Press, 2012); Ashish Avikunthak (Aicon Gallery, 2012); Studies in French Cinema (Spring 2011); The Cinema World of Pedro Costa (Jeonju International Film Festival, 2010); Robert Beavers: My Hand Outstretched to the Winged Distance and Sightless Measure (Berkeley Art Museum and Pacific Film Archive, 2009); and the Encyclopedia of the Documentary Film (Routledge, 2005). Recipient, Whiting Fellowship (2009-2010); Stavros S. Niarchos Research Fellowship (2008); others. At Bard since 2010.