An exhibition of artwork by Brown students presented by the David Winton Bell Gallery and the Department of Visual Art.
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
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
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
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
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
An exhibition of artwork by Brown students presented by the Bell Gallery and the Department of Visual Art.
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
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
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
The Boat of My Life is a sculptural installation by Russian-born artist Ilya Kabakov. It features a 58-foot-long wooden boat with twenty-five boxes on its deck. Filled with all types of personal objects, these boxes allude to episodes from the artist’s life in Russia prior to his move to Western Europe in the late 1980s and later to the United States in the early 1990s.
Curated by Vesela Sretenovic
image: The Boat of My Life
Crafting the Medici places portraits of the Medici family in the context of the breadth of Florentine craftsmanship, in media ranging from painting to printmaking, gold- and silversmithing, leatherwork, and textile manufacture all in the service of crafting a public image for the Medici rulers. From the time of the first Grand Duke, Cosimo I—who ruled Florence beginning in 1537—until the last Medici died in 1737, the Medici were absolute rulers of one of the most luxurious and powerful courts in Italy. Made in the years following the establishment of Medici rule in 1537, the extremely formal lineage portraits (some of them of infants and young children) were designed to show dynastic succession and provided painters with "authorized" models from which to make any number of copies whenever needed.
Curated by Catherine Caneva, Jo-Ann Conklin, Evelyn Lincoln, and Catherine W. Zerner
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