Becker and Seaman will discuss their experiences photographing in Greenland and Antarctica.
In Labyrinthitis, Kirkegaard employs otoacoustic emissions (low-level sounds emitted by the cochlea in response to auditory stimulus). Emissions generated by the artist’s ears produce otoacoustic emissions in the ears of the listeners. In this way, Labyrinthitis reframes hearing as an active sense rather than a passive one and positions the ear itself as an instrument.
Artist Talk by Jacob Kirkegaard
Reception to follow
A screening of Some Bright Morning: The Art of Melvin Edwards (2015) followed by a discussion with director Lydie Diakhaté.
About Some Bright Morning: The Art of Melvin Edwards
Born during segregation in Houston, Texas in the late 30’s, the sculptor and worldwide recognized African-American artist Melvin Edwards has a story that must be told. As a black internationalist, pan-Africanist, and one of the major Modernist innovators in the New York art scene from the days of Abstract Expressionism up until the current Conceptual wave, Melvin Edwards is one of the few Afro-Americans who has a particularly strong connection with Africa beyond his own African origins.
Made out of a large array of archival materials, Some Bright Morning follows the artist from his New York gallery to both Ghana and Senegal, and places Edwards’ life and work in an international context. In extensive interviews, the artist discusses the cultural and political values that have enabled him to establish his own artistic language over the past five decades.
About the Director, Lydie Diakhaté
Lydie Diakhaté is a film producer, art critic and curator for exhibitions and art programs. Her work focuses on producing and disseminating African and African diaspora films and other arts. In 2015 she published Melvin Edwards and the Poetic of a Blacksmith, Wasafiri Magazine, Routledge. Her recent documentary films include Negritude: A Dialogue between Wole Soyinka and Senghor (2015) and Edouard Glissant: One World in Relation (2010). She has curated exhibitions such as Amanié, What’s New?, a series of film and photo material shot thirty-five years ago in the village of Aby on a lagoon in Ivory Coast, West Africa shown at the NYU Kimmel Center Windows (2017); and L’Allée de la Reine, an installation of a series of monumental sculptures in wood by Diagne Chanel at the Dak’Art Biennale (2016). She is the co-founder and director of the Real Life Documentary Festival in Accra (2006-2012) and has organized conferences and events such as Black Portraiture: The Black Body in the West in Paris (2013); Perspectives on Algerian Cinema at the Smithsonian (2011); the film and workshop program of the iREPRESENT International Film Festival in Lagos/Nigeria (2011). Diakhaté received a diploma from the École des Hautes Études en Sciences Sociales, Paris and an MA in Museum Studies from The Graduate School of Arts and Science at New York University.
A conversation between Melvin Edwards and Tony Ramos on the occasion of the opening of the exhibition Festivals, Funerals, and New Life.
Opening reception to follow.
Melvin Edwards and Tony Ramos have been artist colleagues and friends for over forty years. Traveling to and working in Africa together many times, Ramos created important films documenting Edwards’s projects in Africa in the 1970s. The artists will share a conversation exploring their work, camaraderie, and themes emerging from Edwards’s exhibition Festivals, Funerals, and New Life at the David Winton Bell Gallery.
About Tony Ramos
Born in Providence, Tony Ramos is a performance and media artist, known best for using his art for political activism in the 1970s. He is particularly interested in African American identity, global crises, and the dissemination of news through television. He received an M.F.A. from the California Institute of the Arts where he was a graduate assistant to Allan Kaprow. Early in his career he received a National Endowment for the Arts Visual Arts Fellowship, a Rockefeller Foundation Fellowship, and an Aspen Fellowship from the Aspen Institute. During the 1970s and 1980s, Ramos traveled widely in Europe, Africa, China and the Middle East, notably documenting the end of Portugal's colonial rule in Cape Verde and in Guinea-Bissau. In addition to his artistic pursuits, Ramos has served as a video consultant to the United Nations and National Council of Churches.
A Response to “What Remains”
Laurie Amat, vocalist
Tour of the Exhibition with Richard Fishman
Space is limited to 30 people. Admittance on first come basis
On April 13th, the Bell Gallery will host a panel discussion with the artists and curators behind the project “Don't Follow the Wind” — an ongoing exhibition started on March 11, 2015 inside the uninhabited, radioactive Fukushima exclusion zone caused by the nuclear catastrophe. The collaboration with 12 Japanese and international artists includes new commissions spread over three sites of homes and workplaces lent by former residents. As the zone is closed to the public the artworks remain inaccessible and largely invisible for years or decades to come. The panel participants will be at Brown for three days at an intensive "Camp" working on the future plans of their project.
Organized in conjunction with Art in General and made possible with the support of Triangle Arts Association.
One of the best ways to fight plastic pollution is to guard against it entering our waterways in the first place. Please join us for the Blackstone Park Shoreline Cleanup. Dress in clothes you don't mind getting a little dirty, and wear sturdy, closed-toe shoes. Children under 16 should bring an adult. We will provide trash bags and disposable gloves. Please feel free to bring your own work gloves if you have them, and your own reusable bottle of water. You can assist us in planning by registering at http://cleanup.rsvpify.com
Sponsored by Save The Bay and Friends of Blackstone Park with support from the David Winton Bell Gallery, the Brown Arts Initiative, and the Narragansett Boat Club.