Dunham D2014.5

Carroll Dunham, Untitled (6/16/97), 1997

The David Winton Bell Gallery is pleased to announce the acquisition of Untitled (6/16/1997), a ballpoint pen and pencil drawing by Carroll Dunham.

Developing a lexicon of pictograms since the early 1980s, Dunham has become known for his cartoon-like images of protruding phalluses, orifices, and other abstracted bodily abjections. At a time that was dominated by the rigors of process art, Dunham turned to comics, graffiti, and the psychosexual proclivities of surrealism to create sprawling canvases of silly yet seductive debauchery.

Over the years his work has grown increasingly figurative, while maintaining its commitment to the comically grotesque. In the mid 1990s he developed a series of distinct characters with penis-like noses and toothy, vagina dentate smiles. Two of these creatures can be seen floating on a raft in Untitled. One grabs his nose like a telescope, while the other seemingly steers a tiller. Untitled is an early study for Ship, 1997-1999, a large painting in the collection of the Museum of Modern Art, that depicts a raucous maritime scene of fighting genitalia.


Check out the Bell Gallery team installing Tristan Perich’s Microtonal Wall, 2011 at the the Cohen Gallery.





The installation is part of the exhibition Audible Spaces: Tristan Perich, Zarouhie Abdalian, [The User]. The Microtonal Wall will be open to the public this Saturday, 8/23. Stay tuned for behind the scenes images of the rest of the installation next week, and join us for an evening of Artist Talks on 9/5!


Melissa Ann Pinney, Portia Tree, Maui, Hawai, 2002/2004 Gift of Jeanne Press and Richard S. Press '60, P' 90, P'08, P'12

Come see our newest exhibition The Girls of Summer: Photographs by Melissa Ann Pinney. The show is hanging in the Bell Gallery Lobby through August 10.

Pinney takes photographs that explore notions of feminity at all ages. Many of the works in this exhibition document Pinney's daughter, Emma, and her friends as they transition from girlhood to adolescence.  Curator, and Bell Gallery Director, Jo-Ann Conklin notes, in these images Pinney "draws our attention to the childhood joy of tree climbing and the exuberance of a soccer match, and to quieter moments of friendship or contemplation."

Molly Booker has been a Providence residence for 11 years, and is an embed in the Olneyville arts community.

“Going Nowhere: Alumni Artists in Providence,” currently on display at the Bell Gallery, actually feels like the artists have been in conversation with each other — perhaps visiting studio spaces, or going to the same shows, or, maybe even, somehow ending up dating the same people.  The works in the exhibition, curated by Jori Ketten with Alexis Lowry Murray, are an Armillaria ostoyae of Providence; a many-headed fungus with a single deep-running root.


Looking at Jenny Nichols screenprints

Breathe in, for instance, the absolute love of line in David Udris’ compact and complex prints, then wander over to the works of Kevin Hooyman for a much more narrative take on the theme.  Or, remember the texture and playfulness of Tatyana Yanishevsky’s installations as you absorb Xander Marrow’s quilts… and from there, riff off of Xander’s colors, patterns, and the placement of individual elements within the compositions as you peruse over to Jenny Nichols’ “Crash’s Law,” “Blues Dogs” and “Green Dogs.”


García Márquez would have agreed with Hooyman’s larger pieces – particularly the magnetism of the mutedly colored panels. Foster Wallace (if you’ve read anything he’s written about Kafka) would have dug Peter Glanz’ Chronos-inspired tale of pending fatherhood.  In fact, there is something grandchild-of-Kafka-like in the root of this whole big mushroom: something unspeakably magical happened to me, then I discovered how small and insignificant I am. But hey – guess what? I am still unspeakably magical.

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