A Natural Order focuses on a network of people who have left cities and suburbs to live off the grid in the southeastern United States. Over a four-year period beginning in the summer of 2006, Lucas Foglia met, stayed with, photographed, and recorded copious conversations with people at “rewilding” communities such as Wildroots Earthskills Homestead, at Christian communities such as Russell Creek Community, and with smaller independent groups. His subjects have embraced a self-sufficient lifestyle for varied reasons: religious, environmental or political; liberal or libertarian. They all strive for self-sufficiency and sustainability, but none are totally isolated from the outside. As Foglia tells us, “Many have websites that they update using laptop computers and cell phones that they charge on car batteries or solar panels.”
Curated by Jo-Ann Conklin
image: Acorn with Possum Stew, Wildroots Homestead, North Carolina, 2006
The David Winton Bell Gallery and the Department of Visual Art present the work of talented Brown artists in the 32nd annual Student Exhibition. The exhibition is open to all Brown University students. Jurors for this year's exhibition are Ellen Driscoll, Head of Sculpture, Rhode Island School of Design; and Deborah Bright, Acting Dean of Fine Arts, Rhode Island School of Design.
image: Anne Muselmann, File Cabinet, 2011
Optical Noise is the latest in a long and distinguished series of exhibitions prepared by first- and second-year graduate students in the Department of the History of Art and Architecture. The works featured in Optical Noise are drawn almost entirely from the collections of the David Winton Bell Gallery. The collection is particularly strong in works on paper, including British and American examples made as part of the print revival of the 1960s and 1970s. A selection of these prints and two related films, which have been lent to this exhibition, are the subject of Optical Noise.
Curated by Monica Bravo, Alexandra K. Collins, Sara Hayat, Amy S. Huang, Sarah Rovang, and Rebecca A. Szantyr, with Professors Herve Vanel and Catherine Zerner
image: Mel Ramos, Tobacco Rose, 1965
Featuring the work of Meridith Pingree, Jasper Rigole, Jonathan Schipper, Gregory Witt, and Zimoun, this exhibition explores the intersection between nostalgia and technology in contemporary sculpture. The five artists incorporate very simple machinery to create works that evoke different aspects of nostalgia. Rather than specific lost moments of time, they capture more abstract, visceral registers of this sentiment, whether in the form of a sense memory (of rain, or of skin crawling), a personal history (moments of key decisions), or an aesthetic associated with memory (such as the historical documentary).
Curated by Maya Allison
image: Gregory Witt, Packing Tape, 2010
Building Expectation: Past and Present Visions of the Architectural Future presents a collection of historic and ongoing visions of the future from the nineteenth century until the present day. The exhibition’s content has been drawn from a number of university libraries and private collections, as well as the Swiss state-supported museum of utopia known as the Maison d’Ailleurs (House of Elsewhere). Many of these objects have never before been exhibited in the United States.
Curated by Nathaniel Robert Walker
image: Katherine Roy, View of Industria, 2011
A selection of works from the permanent collection mounted in conjunction with Masterpieces of Western Art and Architecture, a course offered by the Department of the History of Art and Architecture.
Curated by Jo-Ann Conklin
image: Edgar Degas, Dancer Rubbing her Knee, ca. 1885
Among the Breakage features recent paintings by ten Providence artists. As this sampling suggests, Providence’s creative communities are more akin to an archipelago than a single island of “regional style.” Work in this exhibition ranges from hard-edged abstraction to hybrid figurative landscapes and techniques that stretch the very definition of painting. Participating artists are Sam Duket, Shawn Gilheeney, Ernest Jolicoeur, Maria Napolitano, Lisa Perez, Ara Peterson, Masha Ryskin, Monica Shinn, Dan Talbot, and Jason Travers. The exhibition was curated by Maya Allison and Neal Walsh.
Curated by Maya Allison and Neal Walsh
image: Ara Peterson, detail from Arcade, 2007
Tradition, Trauma, Transformation: Representations of Women features the work of three leading contemporary artists: Nalini Malani, Nilima Sheikh and Chitra Ganesh. Indian and Indian-American, their works are influenced by political, religious, and cultural situations, as well as personal relationships, involving sexuality and the position of women.
Curated by Mallica Kumbera Landrus and Jo-Ann Conklin
image: Chitra Ganesh, Melancolia: The Think of Time, 2011
The David Winton Bell Gallery and the Department of Visual Art present the work of 38 young artists for the 31st annual Student Exhibition. This year the guest jurors were Lucky Leone and Olive Ahyens. Artists selected for the exhibition are Gabriela Baiter, Arlando Battle, Genevieve Busby, Nicholas Carter, Alexander Currimjee, Leilani Diaz, Christina Fleischer, Diana Friedman, Anna Gaissert, Robert Gordon-Fogelson, Sarah Grimm, Aviva Grossman, John Haenle, David Hernandez, Ryan Hoskins, Erika Jung, Lauren Kent, Olivia Kirby, Amanda Lee, Jung Min Lee, Alejandra Lindstrom Peralta, Maria Macrina, Isabel Mattia, Anne Oram, Brice Peterson, Michael Price, Harry Reis, Nina Ruelle, Emily Sanford, Bridget Sauer, Jill Silverberg, Todd Stong, Alex Toyoshima, Randall Trang, Lamia Veerasamy, Kelly Winter, June Yoon, and Scotty Zane Carroll.
image: Robert Gordon-Fogelson, Providence, 2010
The David Winton Bell Gallery presents Faculty Triennial 2010 featuring work by 24 faculty artists from five departments. Prior to this year, the faculty exhibition featured work from only two departments—Visual Art and Modern Culture and Media. This years exhibition reflects the cross-disciplinary practice that is an integral part of the arts at Brown.
Curated by Maya Allison
image: Artist Todd Winkler in Glint, his immersive installation
Pictures from the Hay celebrates the Hay centennial through a selection of visual materials—paintings, prints, drawings, photographs, artifacts and documents. The exhibition is organized around subject areas. Some, such as the Sciences, the Military, and Book Arts, reflect the strengths of the collection, while others, notably Rites and Ceremonies, and Entertainments and the Arts—which depict social activities—are drawn from many sub-collections. The exhibition provides, of necessity, a limited glimpse of the many important works of visual art and culture found within the five million books, monographs, manuscripts, broadsides, photographs, prints, postage stamps, and sheets of music held by the John Hay Library.
Curated by Jo-Ann Conklin with Maya Allison, Jennifer Betts, Raymond Butti, Jo-Ann Conklin, Dominque Coulombe, Rosemary Cullen, Ann Morgan Dodge, Patricia Figueroa, Peter Harrington, Gayle Lynch, William Monroe, Richard Noble, Holly Snyder, and Ian Straughn
image: details from Jacques-Fabien Gautier-Dagoty, Myologie complete en couleur et grandeur naturelle, 1746; Maria Sibylla Merian, Dissertatio de generatione et metamorphosibus insectorym Surinamensium, 1719; Theodor de Bry, Americae tertia pars memorabile provinciae Brasiliae historiam, 1592.
Alison Owen’s works embellish and punctuate the subtle details in a space. She gathers dust and debris from the exhibition venue for use in sprawling wallpaper installations. For her installation in the Bell Gallery lobby, she takes as her starting point the distinctive grid-filled architecture of the List Art Center (designed by Phillip Johnson). She also draws on the details of the rare manuscripts on view in the Hay Library Centennial exhibition (in the adjacent gallery), which resonate with her ornate, hand-made aesthetic.
Curated by Maya Allison