María Berrio, Zoë Charlton, and Joiri Minaya create multimedia collages that depict bodies enveloped by nature, often juxtaposing the garden and the wild. Fertile Ground brings their aesthetically and conceptually layered works together to explore the relationship between body and land and challenge romantic tropes with powerful personal, cultural, and political narratives. While each artist has a different reason for choosing her imagery, all engage with issues of race, class, power, ownership, and freedom.
Curated by: Heather Bhandari
Image: Zoë Charlton, The Country a Wilderness Unsubdued, 2018
The third in a series of installations highlighting recent additions to the photography collection, Facing the Camera surveys the uses of contemporary portraiture, both personal and political, in the works of Christopher Churchill, Kyle Meyer, Vik Muniz, Lucas Samaras, Mickalene Thomas, S.B. Walker, Jay Wolke.
image: Vik Muniz, George Stinney Jr., 2015
In the artist’s words, Toby Sisson’s artworks explore “the breadth of metaphoric meaning that can be derived from non-objective abstraction, especially psychological and social content.” Concerned with issues of race, reflecting her biracial experience, Sisson here interrogates the word “American” or “Nacirema” referencing Nacirema Clubs (social clubs for African Americans) that were popular in the Midwest during her youth.
Curated by: Jo-Ann Conklin
Image: Toby Sisson, detail of Deconstructed American, 2019
Snæbjörnsdóttir/Wilson’s socially-engaged projects explore contemporary relationships between human and non-human animals in the contexts of history, culture and the environment. Based on their work alongside avian researchers at Jacob’s Point, RI, The Only Show in Town will comprise artworks made in response to the plight of the saltmarsh sparrow, resident in the world only along a narrow and depleted margin of the east coast of North America and marked for extinction by the year 2050. The exhibition is supported, in part, by the Brown Arts Initiative.
Curated by: Jo-Ann Conklin
Image: Snæbjörnsdóttir/Wilson, Escape/Release #4, 2019
This is the second in a series of exhibitions featuring recent additions to the photography collection. Focusing on abstract images made with the "inherently" documentary medium, the exhibition will include works by Berenice Abbott, Tom Baril, Marilyn Bridges, Edward Burtynsky, Christiane Feser, Jed Fielding, Bill Jacobson, Lauren Henkin, Dorothy Norman, Gabriel Martinez, Aaron Siskind, and Hiroshi Sugimoto.
Image: Edward Burtynsky, Greenhouses, Almira Peninsula, Spain, 2010
Danny Lyon once described the writer James Agee as, “a romantic who adored reality,” an epithet equally apt to describe him. Lyon made a name for himself in the 1960s with an embedded style of reportage, capturing a compelling beauty in the people and places he befriended across the country, from student leaders of the civil rights movement to convicts in Texas prisons. Drawn primarily from the Bell Gallery collection, The Only Thing I Saw Worth Leaving presents photographs from some of Lyon’s most significant series along with films and other work, organized around five principles that he refers to time and again: empathy, freedom, history, destruction, and narrative.
Curated by Allison Pappas
Image: Danny Lyon, Arrest of Eddie Brown, Albany, Georgia, 1962. Copyright Danny Lyon/Magmun Photos
An affiliated program of the Warren and Allison Kanders Lecture Series
Co-organized by the David Winton Bell Gallery and the Brown Arts Initiative
New No’s is a simple yet direct poem of defiance designed by Paul Chan and Badlands Unlimited. Published as a poster in the wake of the 2016 presidential election, the poem stands as a manifesto of resistance and a protest for solidarity against political and social shifts the artists observed in the United States and beyond.
This installation is part of For Freedoms’ 50 State Initiative, a non-partisan, nationwide campaign to use art as a means of inspiring civic participation in advance of the 2018 midterm elections.
Curated by: Ian Alden Russell
Image: Paul Chan with Badlands Unlimited, New No's, 2016. Courtesy the artists.
Co-organized by the David Winton Bell Gallery and the Brown Arts Initiative
On Protest, Art and Activism explores differing ways artists engage the political and social issues of their time. Part 1—on view October 1–28— features works by Ja’Tovia Gary, Theaster Gates, Josephine Meckseper and Dread Scott. Part 2—on view November 2–December 19— features works by Hermine Freed, Guerrilla Girls, Suzanne Lacy, Howardena Pindell and Martha Rosler. Concurrent with Part 2, a site-specific installation of New No’s by Paul Chan and Badlands Unlimited is on view in the lobby of List Art Building.
This exhibition is and part of For Freedoms’ 50 State Initiative, a non-partisan, nationwide campaign to use art as a means of inspiring civic participation in advance of the 2018 midterm elections.
Curated by: Ian Alden Russell
Image: Howardena Pindell, Free, White and 21, 1980. Courtesy the artist and Garth Greenan Gallery, New York.
Walter Feldman’s affiliation with Brown University began in 1953, when he taught his first class in visual design, extended through his fifty-four year teaching career, and continues today in a legacy of sustained artistic and educational endeavors. This memorial exhibition celebrates Feldman's life through his arts, including a retrospective selection of paintings, prints, drawings, sculpture, and artists’ books.
Curated by: Jo-Ann Conklin
Image: Walter Feldman, Self Portrait, 1947-1949
Recent additions to the photography collection will be featured in exhibitions mounted in List Lobby throughout the 2018-2019 academic year. The first edition of the series looks at photographic images of architecture — as documents of buildings and as reflections of urban and rural environments. The exhibition includes works by Tom Baril, Bernd and Hilla Becher, Markus Brunetti, Walker Evans, Frank Gohlke, Todd Hido, Philip Jameson, Justin Kimball, Andrew Moore, Arthur Rothstein, and Robert von Sternberg.
image: Markus Brunetti, Conques, Abbatiale Sainte-Foy, 2012-2014
Pushing Painting presents three concurrent exhibitions of new and recent work by painters living and working in New England. While differing in terms of subjects and techniques, the work of Elise Ansel, Nicole Duennebier and Duane Slick all demonstrate the vitality of contemporary painting in New England and the ever-present potential for the painted image to attract, engage and prompt reflection on how we view the world and our place within it.
Curated by: Ian Alden Russell
Image (left): Elise Ansel, Medium Study IV for Dutch Flowers, 2018
Image (middle): Nicole Duennebier, Bearded Tooth and Golden Sac, 2014
Image (right): Duane Slick, A Voice from the Prairie Grass, 2017
Artists have participated in scientific and artistic explorations of the iconic landscapes of Earth’s polar regions since the late-nineteenth century. Today, the crisis of climate change and the associated threat of ice melt and sea level rise have drawn a legion of international artists to Greenland, the Arctic, and the Antarctic. There, they document the beauty and the destruction of the region, in hopes of drawing viewers’ attention to the impending loss and eliciting action toward change.
33° presents the work of six artists: Danish sound artist Jacob Kirkegaard and photographers Olaf Otto Becker (German), Camille Seaman (Native American/African American), James Balog (American), Jean de Pomereu (French), and Iain Brownlie Roy (Scottish). Kirkegaard’s forty-minute soundspace Isfald (Icefall) will be on view at the David Winton Bell Gallery, alongside photographs of glaciers, icebergs, and the Greenland icesheet by Becker and Seaman. Photomurals by Becker, Seaman, Balog, de Pomereu, and Roy will be displayed on the exterior of buildings across Brown’s campus.
Curated by: Jo-Ann Conklin
Image: Camille Seaman, Breaching Iceberg, Greenland, August 8, 2008
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