MAL AHERN Visiting Lecturer of Film and Electronic Arts
AB, University of Chicago; MA, The Graduate Center, City University of New York; MA, MPhil, PhD candidate, Yale University. Mal Ahern’s areas of interests include media archaeology, history of technology, aesthetic theory, experimental cinema, and feminist theory. Her research explores the tensions between visual signification, abstraction, and image-making technologies. Before beginning her doctoral studies at Yale, she was the collection registrar at the Museum of the Moving Image, where she cared for and documented a collection of more than 1000,000 artifacts related to the history of film, TV, and digital media technology. Publications include the articles “Trace: Six Grids and a Hypothesis,” in World Picture and “Invisible Cinema: Andy Warhol’s Films, In and Out of View,” in Millennium Film Journal; reviews in The New Inquiry and The Nation; and a chapter, “Playing with Vision: Riddles of the Sphinx (1977) and the Panoramic Shot,” in the forthcoming On the Viewing Platform: The Panorama from Canvas to Screen.” She previously taught courses in film studies, global material culture, and theory of media at Yale; and English, writing, and rhetoric at Wuhan University of Technology in China. At Bard: Fall 2018.
PEGGY AHWESH Professor of Film and Electronic Arts
B.F.A., Antioch College. Media Artist. Active in the media arts for over 20 years, Ahwesh has developed a practice including film production, feminist studies and media advocacy. Aptly described as a bricoleur, Ahwesh works in experimental narrative and documentary genres, often with improvisational performance, in what is primarily an investigation of cultural identity and role of the female subject. Distribution is through Electronic Arts Intermix, NY and Lightcone, Paris with work in the permanent collections of MoMA and the Library of Congress. She was in the 1991, 1995 and 2002 editions of the Whitney Biennial. Ahwesh has received grants from The Jerome, Creative Capital and Guggenheim Foundations, NYSCA and the Alpert Award in the Arts. Ahwesh is represented by Microscope Gallery, Brooklyn, NY. Find her on the web at Senses of Cinema, Great Directors Critical Database, World Picture Journal of Film Theory and the Elizabeth Sackler Center for Feminist Art at the Brooklyn Museum. At Bard since 1990.
EPHRAIM ASILI Assistant Professor of Film and Electronic Arts
B.A. Film and Media Arts, Temple University, M.F.A Film & Video Arts, Bard College. Ephraim Asili is a Filmmaker, DJ, and Traveler whose work focuses on the African diaspora as a cultural force. His films have screened in festivals and venues all over the world, including the New York Film Festival, NY; Toronto International Film Festival, Canada; Ann Arbor Film Festival, MI; San Francisco International Film Festival, CA; Milano Film Festival, Italy; International Film Festival Rotterdam, Netherlands; MoMA PS1, NY; LAMOCA, CA; Museum of Fine Arts, Boston, MA; and the Whitney Museum, NY. As a DJ, Asili can be heard on his radio program In The Cut on WGXC, or live at his monthly dance party Botanica. Asili’s films are in distribution with Video Data Bank.
BA, MFA, University of California, Los Angeles. Charles Burnett is an internationally acclaimed filmmaker and 2017 recipient of a Governors Award (honorary Oscar) from the Academy of Motion Picture Arts and Sciences. His films have been lauded for their poetic storytelling and incisive observations of class, race, and social relationships. His first feature film, Killer of Sheep, which depicts the problems confronting working class African Americans in South Central, California, was originally submitted as his master’s thesis at UCLA. Hailed as “an American masterpiece” by Manohla Dargis of the New York Times, Killer of Sheep was selected for preservation by the Library of Congress’s National Film Registry in 1990. The narrative and documentary films that followed—My Brother’s Wedding; To Sleep with Anger (added to the National Film Registry in 2017); The Glass Shield; Selma, Lord, Selma; The Wedding; Nightjohn; Nat Turner: A Troublesome Property; and Annihilation of Fish, among them—form a body of work that many critics believe offers the richest and most expansive exploration of African American culture and history of any filmmaker of Burnett’s generation. The 2007 rerelease of Burnett’s first two films, theatrically and on DVD, augured a renewal of interest in his work and its discovery by a new and younger audience. In January 2008, his oeuvre was honored by the New York Film Critics Circle.
Burnett is the recipient of numerous awards and honors, including MacArthur, Rockefeller, and Guggenheim fellowships, as well as the Horton Foote Screenwriting Award. Killer of Sheep shared first prize at the Sundance Film Festival and was awarded a top prize at the Berlin International Film Festival. In 2006, a retrospective of Burnett’s films was presented at the Louvre as part of an exhibition on the theme of exile, curated by Nobel Prize–winning author Toni Morrison. Selected honors also include a Golden Thumb Award, Roger Ebert Film Festival; Career Achievement Award, Chicago International Film Festival; Paul Robeson Award, Howard University; Best Screenplay Award for To Sleep with Anger, National Society of Film Critics; and the American Film Institute’s Maya Deren Award, also for 1990’s To Sleep with Anger. Retrospectives of his work include: “The Power to Endure,” Museum of Modern Art (2011); “The Outsider,” Louvre Museum (2006), and “Witnessing for Everyday Heroes,” Film Society of Lincoln Center and Human Rights Watch International Film Festival (1997).
Burnett previously taught or mentored students at Richard Linklater’s screenwriting workshop in Austin, Texas; Howard University; California Institute of the Arts; and University of California, Berkeley. At Bard since 2018.
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.
B.A., Brown University; M.F.A., Rensselaer Polytechnic Institute. Recent films include include Hart’s Location (2016), The Measures (with Jenny Perlin 2014), The Observers (2011) and Stranger Comes to Town (2007). Recent exhibitions and screenings at American Museum of Natural History, Rotterdam Film Festival, New York Film Festival, London Film Festival, Pacific Film Archives, and the Museum of Modern Art in New York. Recipient, USA Rockefeller Award (2013), Alpert Award in the Arts (2007), DAAD Fellowship (2005), and Creative Capital Award (2005). At Bard since 2001.
Brent Green is a self-taught artist and filmmaker whose films have screened, often with live musical accompaniment, at venues such as the Museum of Modern Art, J. Paul Getty Museum, Walker Art Center, Hammer Museum, Rotterdam International Film Festival, and Sundance Film Festival. His work, which also includes sculptural pieces and large-scale installations, is in the permanent collections of MoMA, Arizona State University, the Hammer Museum, and the Progressive Art Collection. He is the recipient of numerous grants and honors, including Park Avenue Armory Artist in Residence, Sundance Director’s and Writer’s Labs, San Francisco Film Society (SSFS) Hearst Screenwriting Grant, and Peggy Irving Foundation and Creative Capital grants, among others. His films include Gravity Was Everywhere Back Then, Carlin, Hadacol Christmas, and Paulina Hollers. Green is represented by the Andrew Edlin Gallery in New York City. At Bard: Spring 2017.
B.A., Yale University; M.A., New York University. Ed Halter is a critic and curator living in New York City. He is a founder and director of Light Industry, a venue for film and electronic art in Brooklyn, New York, and his writing has appeared in Artforum, The Believer, Bookforum, Cinema Scope, frieze, Little Joe, Mousse, Rhizome, Triple Canopy, the Village Voice and elsewhere. He is a 2009 recipient of the Creative Capital | Warhol Foundation Arts Writers Grant, and his book From Sun Tzu to Xbox: War and Video Games was published in 2006. From 1995 to 2005, he programmed and oversaw the New York Underground Film Festival, and he has curated screenings and exhibitions at Artists Space, BAM, the Flaherty Film Seminar, the ICA, London, the Museum of Modern Art, the New Museum, PARTICIPANT INC., and Tate Modern, as well as the cinema for Greater New York 2010 at MoMA PS1 and the film and video program for the 2012 Whitney Biennial. He teaches in the Film and Electronic Arts department at Bard College, and is currently writing a critical history of contemporary experimental cinema in America. At Bard since 2007.
BA, Bard College; MA, University of Chicago. Lisa Katzman worked as a journalist, film critic, and educator for many years before becoming a documentary filmmaker and screenwriter. Tootie’s Last Suit, her documentary about the history and culture of New Orleans Mardi Gras Indians and iconic Chief Tootie Montana, premiered at the 2007 Full Frame Documentary Film Festival, played theatrically in New York and Chicago, and received the prestigious Jean Rouch Award from the Society for Visual Anthropology. Her current project, After Disasters, is a two-part documentary that explores the environmental and health effects of 9/11 and the BP oil spill in the Gulf of Mexico. For her original investigative work on BP’s use of the toxic dispersant Corexit during the 2010 Gulf disaster, she received a research fellowship from The Nation Institute’s Investigative Fund that led to a feature story in Mother Jones. She also served as writing and acting consultant on HBO’s 2017 series The Deuce. Original screenplays include Rachel and Gerard, an interracial romance set in the art world of Chicago, which will be directed by Visiting Artist in Residence and distinguished filmmaker Charles Burnett; and Deep Song, a commissioned adaptation of Dorien Ross’s Returning to A, a novel about an American woman’s experiences learning flamenco guitar from Spanish gypsies in the 1960s. Katzman has written extensively about film, art, food, the environment, feminism, and human rights for publications including the New York Times, Village Voice, Film Comment, Interview, Saveur, Playboy, High Times, Los Angeles Times, and Chicago Tribune. As an educator, she has taught film studies and screenwriting at New York University’s Tisch School of the Arts, Tulane University, Brooklyn College, and Vassar College. She also led screenwriting workshops for the Woodstock Film Festival and at Woodstock’s Byrdcliff Arts Colony. At Bard since 2018.
A.B., University of California, Berkeley; graduate studies in film theory, École des Hautes Études, Paris. Krueger-Chandler is a feature film screenwriter and director whose works include Committed, starring Heather Graham, Casey Affleck, and Luke Wilson, which premiered at the Sundance Film Festival; Manny & Lo, starring Scarlett Johansson, which won the Gotham Awards’ Open Palm Award and was nominated for four Independent Spirit Awards; and the featurette Best Offer, which received multiple jury awards from the San Francisco, Chicago, and Edinburgh International Film Festivals. Sugar Pill, awarded two Sloan Foundation grants through the Sundance Institute and Tribeca Film Institute, is in development. Screenwriting projects include Radio Silence, commissioned by Loudella Films, Inc.; she has also served as script supervisor on film projects by Jim Jarmusch, James Ivory, Abel Ferrara, Ridley Scott, and others. She previously led writing/directing workshops at Boston Film/Video Foundation and taught editing at the Sundance Institute. At Bard since 2016.
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.
A.B., Dartmouth College; M.A., New York University. Writer and lecturer on filmmaking and film history. Taught at Queens College, Cooper Union, Princeton University, and Collective for Living Cinema. Associate editor, Downtown Review (1978–81). Articles on film, video, and poetry. Coeditor, Ten Years of Living Cinema (1982). At Bard since 1981.
B.F.A., School of the Museum of Fine Arts, Tufts University. Reichardt’s new film Certain Women, starring Laura Dern, Michelle Williams, Kristen Stewart and Lily Gladstone, premiered at the 2016 New York Film Festival. Reichardt’s other films include: Night Moves (2013), Meek’s Cutoff (2010), Wendy and Lucy (2008), Old Joy ( 2006), and River of Grass (1994). Grants: United States Artists Fellowship, Guggenheim Fellowship, Anonymous Was a Woman Award, Renew Media Fellowship. Special Screenings: 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, BFI London Film Festival. Retrospectives: Anthology Film Archives, Pacific Film Archive, Museum of the Moving Image, Walker Art Center, American Cinematheque Los Angeles. At Bard since 2006.
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.
BA, Bard College. Farihah Zaman is a Brooklyn-based filmmaker, critic, and curator whose work has screened at Sundance Film Festival, BAMcinemaFest, Toronto International Film Festival, and Tribeca Film Festival. Her first feature, 2012’s Remote Area Medical, chronicled three days at a pop-up medical clinic in Tennessee and was called “an incredibly tragic” and “important” movie by the Washington Post. Documentary features also include This Time Next Year, which premiered at the Sundance Film Festival; 2018’s Feast of the Epiphany, a narrative-documentary hybrid that premiered at BAMcinemaFest; and Watermelon Thump Queen, in production. She has also served as director/producer for a number of documentary short films, including commissioned work by the Redford Center and Field of Vision, a filmmaker-driven documentary unit where she is a creative consultant. She has written for Film Comment and the online publications Reverse Shot, Buzzfeed, Elle, Filmmaker Magazine, Huffington Post, and Sundance Now, among others. She has also contributed chapters to CineVardaUtopia: The Films of Agnès Varda and Steven Spielberg: Nostalgia and the Light. She has taught or served as guest lecturer at Missouri School of Journalism, UnionDocs Workshop, New York Film Festival Industry Academy, and School of Visual Arts. At Bard: Fall 2018.