The interactive installation Exchange Fields brings together video projections, sound, dance, poetic text, and sculptural objects, thereby producing a multi-sensory environment and, in the words of the artist, "enabling fields of meaning to emerge." The work was created in collaboration with Dutch dancer and chore-ographer Regina van Berkel, and was commissioned by vision ruhr exhibition, Dortmund, Germany, in 2000.
Curated by Vesela Sretenovic
image: Bill Seaman, detail from Exchange Fields
Aleksandr Brodsky and Ilya Utkin first achieved international recognition in the mid-1970s as members of a loosely organized group called “paper architects.” Graduating from Moscow’s prestigious Institute of Architecture in1978, the pair found themselves at odds with Breshnev’s doctrine of architectural utilitarianism. They found an outlet for their interests, which tended toward an eclectic assortment of styles and period, in international design competitions organized by architectural magazines in Japan, England, the United States, and other countries. The competitions stressed theory over functions, addressing programs like “A Glass Monument to the Year 2001” and “The Intelligent Market.”
The exhibition is drawn from the portfolio Projects 1981–1990, a gift of the Friends of List Art Center in memory of Patricia M. Morrissey.
image: Diomede II, 1989-90
The exhibition features three of Suh's architectural installations, all relating to his New York apartment: the cumbersomely titled 348 West 22nd St., Apt A, New York, NY 10011 and 348 West 22nd St., Apt A, New York, NY 10011 (corridor), from 2000 and 2001, respectively, and Staircase, 2003. Staircase was created specifically for the List Art Center Lobby; other versions of the piece were created for the Istanbul Biennale and a group exhibition at the Artsonje Center, Seoul.
Curated by Jo-Ann Conklin
image: Staircase, 2003
Faculty from the departments of Visual Art and Modern Culture and Media will show recent work in the Faculty Triennial. Artists featured are Leslie Bostrom, Tony Cokes, Susan Doyle, Wendy Edwards, Walter Feldman, Richard Fishman, Kenneth Horii, Nina Katchadourian, Sarah Malakoff, Marlene Malik, Roger Mayer, Fraser Stables, Rachel Stevens, Daniel Stupar, Leslie Thornton, and Judyth van Amringe.
The title Obsessive Patterns refers to a formal quality shared by the exhibited works—meticulously drawn or painted marks, showing obsessive attention to detail—a quality here expressed as abstract and semi-abstract patterns on paper (Tayo Heuser and Jane Masters), on rawhide (Dean Snyder), or on wood and canvas (Neal Walsh). While Heuser's and Masters's works are quiet and meditative, Snyder's and Walsh's pieces are vibrant and energetic; the former are precise and repetitive, and the latter are sketchy and unpredictable.
Curated by Vesela Sretenovic
image: Jane Masters, “Untitled” from Zoomorphic Series #1, 1997
Unchained Memories: Readings from the Slave Narratives, an interactive exhibit based on the oral histories of slaves collected by the Works Projects Administration in the 1930s, was presented in the lobby of the Salomon Center for Teaching. The exhibit, which complements the HBO film of the same title, was organized by the National Underground Railroad Freedom Center of Cincinnati. It was brought to Brown in conjunction with the May 24 Commencement Forum by alumnus Spencer Crew, executive director of the Center.
image: Still from film "Unchained Memories," directed by Ed Bell and Thomas Lennon, 2003
The David Winton Bell Gallery will celebrate the artistic and educational accomplishments of one of Brown’s most senior faculty members in its exhibition, Walter Feldman: The Work of Five Decades. The exhibition spans Feldman’s career, beginning with a macabre image of a skeleton-faced soldier—done in 1946 shortly after he returned from his service in World War II—and continuing through his most recent artist’s book, The Ballad of Rodger Young, completed in 2003. Between the two, Feldman has created works in a wide range of materials: paintings in egg tempera, gouache, oil and acrylic; pen and ink drawings; mosaics and stained glass; silk screens, woodcuts, etchings and engravings; and mixed media sculpture, collage and hand-set letterpress books.
Curated by Jo-Ann Conklin
image: Untitled (soldier), 1946
The 23nd annual Student Exhibition is presented by the Bell Gallery and the Department of Visual Art. The jurors for this year's show are Jane Masters and Raphael Lyon. Both artists live in Providence. Artists included in the exhibition are Jenny Asarnow, Claire Baker, Bennett Barbakow, Solon Barocas, Rebecca Noelle Bates, Ryan Barger, Leah Beeferman, Nicholas Beem, Estelle Bossy, Rebecca Brown, Jessie Cohan, Ilana Cohen, Louise Despont, Breanne Duffy, Annie Frazier, Deborah Grossberg, Eva Happel, Michelle Higa, Arthur Hur, Iris Jaffe, Mairin Jerome, Jamie Kaufmann, Sarah Kessler, Annie Kirby, Anna Knoell, Amy Komarnicki, Max Kuller, Kevin Kunstadt, Yew Leong Lee, Katherine Mann, Colleen McHugh, David Morehouse, Lisa Morrow, Amanda Norman, Lauren Oakes, Manu Sawker, Ellen Schneiderman, Tal Schori, Jessica Schwartzberg, Will Shapiro, Chris Smith, Chutrudee Joy Somberg, John Jasper Speicher, Daniella Spinat, Beath Stepien-Liv, Eva Struble, Arthi Sundaresh, Janine Szczepanski, Vivian Tang, Leksi Weldon-Linne, Joseph Winter, Helena Wurzel.
image: installation view with, from left back: Eva Struble, Untitled; Iris Jaffe, Self-portrait on Purim; and Estelle Bossy, Max Huller, and Louise Despont, Edible Environment.
This exhibition includes two of Kozyra's video installations, "Bathhouse" and "Men's Bathhouse," both filmed at the bathhouse of the Hotel Gellert in Budapest. The installations raise questions about gender, voyeurism, and narcissism, as well as concepts of beauty and aging. Kozyra is part of a generation of young female artists who revolutionized the Polish art scene in the 1990s. These women have discarded the traditional subject matter of locality and ethnicity, instead engaging issues of feminist discourse—including identity, the body, female physicality, the contemporary concept of beauty and the other, thus moving Polish art into the realm of internationalism.
Curated by Jo-Ann Conklin
image: still from Bathhouse, 1997
David Nash is best known for his sculptures in wood and his environmental works situated in nature. He uses fallen tree trunks that he cuts, carves, burns, blasts, and sands into monolithic and totem-like forms. Made variously from oak, elm, redwood, and lime wood, all found in Wales, Nash’s sculptures fluctuate between organic and geometric shapes and range in height from two to eight feet. The wood is often charred, which gives the surface a rich texture that is both rough and elegant. The process of charring, or burning, transforms wood into carbon (a mineral), thus altering not only the surface texture, but also the basic nature of the material. Box Cross and the three-part sculpture Cube, Sphere, Pyramid (2000), on view in this lobby, were created using this charring technique. The drawings that accompany Cube, Sphere, Pyramid were made with the charcoal residue left over after burning the sculptures.
Curated by Vesela Sretenovic
image: installation view
Toward uncertainty features two masters of modern Italian art, Alighiero e Boetti and Michelangelo Pistoletto, along with five younger Italian artists—Elisabetta Di Maggio, Lara Favaretto, Ottonella Mocellin, Adrian Paci and Sabrina Torelli, all finalists for the Querini-FURLA prize.
Curated by Chiara Bertola and Vesela Sretenovic
image: Lara Favaretto, Il mondo alla rovescia (The topsy-turvy world), 2001
Curated by Evelyn Lincoln
image: Pietro Testa, The Three Marys at the Tomb of Jesus, 1611
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