David Winton Bell Gallery

Past Exhibitions

Ann Fessler: Close to Home
June 8, 2001 - July 9, 2001

Ann Fessler's Close To Home evokes the sights and sounds of the rural Midwest, as it tells the autobiographical tale of a young girl who grew up in a river community and was later propelled—by coincidence, dreams, and fate—to the hometown of her biological mother at the headwaters of the same river. Premiering at the Bell Gallery, the multi-media installation is the latest in a series of works in which the artist addresses issues related to adoption. Fessler's greatest strength may be her ability to comment on highly personal subjects without falling into sentimentality. The videos are poignant and touching, but her intelligence, critical distance, and well-honed sense of humor save them from sentimentality.

Curated by Jo-Ann Conklin
image: installation view

Location Gallery
Selections from the Collections: Drawings and Prints from the 16th Century to the Present
April 14, 2001 - May 28, 2001

Selections from the Collection focuses on the prints and drawings that dominate the Bell Gallery collection and represent its greatest strength. The exhibition aims to provide an overview of the collection’s prints and drawings rather than to arrange them according to specific subject matter, conceptual framework, or geographic location. Its organizational principle is governed by the aesthetic and historical merit of the artworks, but also follows a chronological order, dividing the works loosely into three main sections: old master, modern, and contemporary.

Curated by Jo-Ann Conklin and Vesela Sretenovic
image: installation view with Robert Arneson, A Hollow Gesture, 1980 and Tom Wesselman, Nude, 1965

Location Gallery and Lobby
Student Exhibition 2001
March 17, 2001 - April 1, 2001

An exhibition of artwork by Brown students presented by the David Winton Bell Gallery and the Department of Visual Art. 

Location Gallery
False Witness: Joan Fontcuberta and Kahn/Selesnick
January 27, 2001 - March 11, 2001

False Witness includes installations by three artists—Joan Fontcuberta and the team of Nicholas Kahn and Richard Selesnick—whose work is grounded in the idea of the malleability of history, memory, and fact. Working with photography and texts (injected with a great deal of humor), they turn our belief in the truthfulness of photographs against us and create elaborate hoaxes that falsify historic events.

Curated by Jo-Ann Conklin
image: installation view of Kahn and Selesnick, Transmissions from the Schottensumpfkunftig, 2001

Location Gallery
Kim Dingle and the Wild Girls
November 11, 2000 - December 31, 2000

Kim Dingle & the Wild Girls presents a survey of Dingle's work with particular emphasis on her rambunctious and sometimes violent alter-egos, Priss and the Wild Girls. Priss and the Wild Girls are modeled after Wadow Dingle, the artist's niece. Born with brain damage, Wadow was prone to violent outbursts as a child. In one way or another, and often with immense, dark humor, Dingle's art illuminates the role that race, gender, stereotype, and myth play in defining identity.

Curated by Jo-Ann Conklin
image: Hatchet, 1998

Location Gallery
Stephen Balkenhol
September 9, 2000 - October 31, 2000

The exhibition presents recent works by Stephan Balkenhol: free-standing sculptures and reliefs in wood, as well as prints on wooden panels that concentrate on the human figure, both nude and clothed. The majority of the works were produced in 2000 especially for this traveling exhibition, organized by the Contemporary Arts Center in Cincinnati, Ohio, and in collaboration with the David Winton Bell Gallery and the Forum for Contemporary Art in St. Louis, Missouri.

Curated by Vesela Sretenovic
Image: installation view at Bell Gallery with Three Men on a Sculpted Pedestal in foreground

Location Gallery and Lobby
Sleight of Hand: Work by Holly Laws and Larimer Richards
June 10, 2000 - July 9, 2000

According to Webster, sleight of hand refers to a "skill with the hands so as to confuse those watching, as in doing magic tricks . . . ." The artists Holly Laws and Larimer Richards rely on such a device of "trickery or magic" to point to the deceptive and illusionary aspects of art that are never fully graspable, but rather implied. Holly Laws's installation LIMN is comprised of small, disembodied wooden legs decked out in elaborately crafted shoes that are at once amusing and disconcerting. Larimer Richards creates installations (videos projected onto objects and sculpture) which fool the eye and entertain the spirit.

Curated by Jo-Ann Conklin
image: Larimer Richards, Night Lite, 1997 

Location Gallery
Faculty Exhibition 2000
April 15, 2000 - May 30, 2000

The diverse exhibition focuses on recent works by faculty members from the Department of Visual Art and the Malcolm S. Forbes Center for Research in Modern Culture and Media. The artists work in a variety of media. Pieces on display ranged from videos to sculpture–in one instance created of steel and stone, in another of found objects and duct tape–handmade books, paintings, prints, and a computer assisted installation. The artists participating in the exhibition are Paul Badger, Leslie Bostrom, Tony Cokes, Wendy Edwards, Walter Feldman, Richard Fishman, Khalid Kodi, Marlene Malik, Roger Mayer, Jerry Mischak, Francois Poisson, David Reville, Janos Stone, and Leslie Thornton.

Curated by Jo-Ann Conklin
image: Richard Fishman, Nephrite Headrest, 1999-2000 

Location Gallery
Student Exhibition 2000
March 18, 2000 - April 2, 2000

An exhibition of artwork by Brown students presented by the Bell Gallery and the Department of Visual Art.

Hogarth: A Rake's Progress
January 29, 2000 - March 12, 2000

With his varied series of satirical prints, William Hogarth (1600-1764) created a broad public patronage for a new kind of art that appealed to the values of a progressive urban middle class. These works, which Hogarth termed his “modern moral subjects,” were series of narrative compositions designed for reproduction through engravings.  A Rake’s Progress (1725) describes the dismal fate of Thomas Rakewell, a wealthy young man who squanders his inheritance and eventually winds up in a lunatic asylum.  Drawn from the collection of the Bell Gallery.

image: A Rake's Progress, plate 3, 1735

Location Lobby
A Measured Quietude
January 20, 2000 - March 12, 2000

With its title taken from the William Butler Yeats poem "To Ireland in the Coming Time," A Measured Quietude explored significant themes and characteristics of 20th century Irish visual art. The exhibition provided abstract images by artists concerned with intimate explorations of the medium of drawing. Artists in the exhibition are Maude Cotter, Roisin Lewis, Richard Gorman, William McKeown, Fergus Martin, Fionnuala Ni Chiosain, and John Kindness.

A Measured Quietude: Contemporary Irish Drawings
was organized by The Drawing Center in New York City as part of that city's Irish Arts Celebration in 1999. The exhibition is supported by grants from the British Council, the Cultural Committee in Ireland and the Fifth Floor Foundation.

image: Fionnuala Ni Chiosain, Untitled, 1998

Location Gallery
Selections from the Collection: Christian Eckart, Ellsworth Kelly, Kenneth Noland, Robert Ryman
January 1, 2000

Selections from the Collection displayed work from the permanent collecton by Christian Eckart, Ellsworth Kelly, Kenneth Noland, and Robert Ryman.

image: Christian Eckart, Odyssey (Diptych Variation) #1005, 1988

Location Lobby