David Winton Bell Gallery

Past Exhibitions





December 4, 2010 - February 13, 2011

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.

For examples, music composer Todd Winkler has built an immersive, interactive installation; writer John Cayley collaborated with artist Daniel C. Howe from the Department of Computer Science on a software robot that reads and transforms classic texts; and playwright Erik Enh has taken his performances off the stage and into a social setting. Ehn will stage his work honoring the shooting deaths at Virginia Tech in the List Art Center lobby.

In organizing the exhibition, curator Maya Allison found resonance among different media along aesthetic lines, rather than any stylistic split between "new media" work and traditional visual work. The decorative, chandelier-like robots of Paul Myoda share a "kaleidoscopic" quality with Daniel Stupar's Mandala wall sculpture and Leslie Thornton's Binocular video montage; while the the richly colored, semi-abstract paintings of Wendy Edwards and Elise Ansel offer a counterpoint to Butch Rovan's stylized black and white video study of a dancer. They, in turn, resonate with the humanist concerns evident in the prints of Ian Gonsher and Elias Roustom.

In his video installation, Dry Runner, Ed Osborn unearths poignant moments in a gritty world of auto racing, a theme picked up in Leigh Tarentino's urban landscape paintings and Betsey Biggs' sonic photographs of New Bedford, MA. Mark Tribe's minimalist "green-screen" installation, The New Revolution, shares conceptual ground with Tony Cokes' new video Evil.11: The Katrina Debacle. Capturing a tension between the natural and man-made environments are Richard Fishman's new altered tree-bark scultpure, Leslie Bostrom's surreal painting of birds invading a baseball game, and Forrest Gander's video, A Border History: Rattlesnakes and Light, about the Mexican-US borderlands. Jennifer Williams explores this nature-civilization tension in formal terms, connecting the lobby's ceiling grid with an organic sweeping wallpaper installation.