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PLEASE NOTE: Locations of artwork on building map are listed in bold, followed by

artist and work descriptions.

Cafe (ground floor)
Joanne Wang, MCM and Biology, 2011
The Neptunists
HD Video, Sound
Featuring Danny Sugar, Shane Farrell, Alex Arruda, and Richard Manning.
Following an unusual disaster, experts of unverifiable origin advise on that which follows,
The Neptunists is an exploration of how attempts to narrativize the natural world create the
possibility for fantastical ones.
Classroom 220
Natasha Pradhan, Anthropology of Aesthetics, 2012
Flesh Archive
Two-channel video installation, silent, 11 min.
The execution and sustainment of power takes place on the flesh itself. In war, this notion is
accepted and applied most directly. Though the everyday that we inhabit is often alienated
from the direct confrontation of conflict, the reality of our bodies remains. Our flesh is
molded to the diffused, though - most fearfully - omnipresent, crystallizations of power in
our environment.
Conference Room 105
Regarding Rooms Etude
An installation by the American Dance Legacy Institute (ADLI) housed at the John Nicholas
Brown Center. Project Director: Julie A. Strandberg, ADLI Co-Founder & Brown Dance
Program Founding Director. Project Coordinator: Adrian Moore, ADLI Graduate Assistant
and Public Humanities, MA 2011
Choreography of Rooms Etude: Lorry May, based on Anna Sokolows Rooms (1955)
Performers: Brown University Dance Extension members (live); Central Falls High School
students (video)
This installation includes performances of Rooms Etude and videos of Central Falls High
School students in original works inspired by the dance. Rooms Etude is based on Anna
Sokolows Rooms inspired by views of isolated lives witnessed through tenement windows in
1950s NYC.
Corridor 200-A

Robert Gordon-Fogelson, History of Art and Architecture + Visual Art, 2012

The Parking Lot District
Providence is a city in transition; it has been since I moved here ten years ago. In these
photographs, Ive tried to capture an image of one of the old industrial neighborhoods, once
busy and lively, but which has now become marginalized, a no-mans-land that I like to call
the parking lot district.
Corridor 300A
Lamia Veerasamy, Visual Art 20212
Paper Landscape #1
Indian ink, walnut ink and acrylic on paper
This work is a study of the behavior of paper on an irregular surface in order to allude to the
constraints of the topography of Mauritius. The drips and ink stains are controlled by the
folds and nooks of the surface and illustrate the insular limitations of the country.
Lamia Veerasamy, Visual Art 20212
Colonial house
Oil and ink on canvas
60 x 60
Colonial house is a reflection on the changing landscape of Mauritius using the emblem of the
British colonial house symbolized in this painting by the black ink lines. The organic and
disorganized shapes suggest a new architectural landscape taking over the British order.
Lamia Veerasamy, Visual Art 20212
Oil on canvas
60 x 60
Fold is a work about the future of Mauritius through a deeper research of a pictorial
vocabulary. This painting revisits the techniques used in Colonial House. The arrows,
perceived as hybrids between line and surface, point to the center of the canvas, towards the
hope for a redefinition of the Mauritian identity.
Corridor N300D
Olivia Kirby, Visual Arts, 2011
and the years have wings
Oil and acrylic paint on canvas

As a senior on the brink of way more of the real world than I could possibly imagine, there
is a sense of things slipping past, things which you cannot grasp. My time here is short and
sweet, yet each day seems long. The movement and texture in this piece reflects the
impatience and waiting I encounter each day, the love for all that I have experienced, my
growth as a painter, and my ability to come to terms with the fact that the only direction we
can move is forward.
Corridor N400D
Olivia Kirby, Visual Arts, 2011
Oil paint and mixed media on canvas
Thanksgiving is about the love my grandmother has shared with her family through her 90
plus years. I wanted to evoke the feelings of joy and comfort through the thick layers and
elements of word and color.
Corridor S-301
Leilani Diaz, Visual Arts, 2011
Looks like Oklahoma
Mixed media on canvas
Looks like Oklahoma is part of a series that combines both real and contrived landscapes. The
works aim to capture the essence of a place rather than what is really there.
Corridor S400
Amanda Lee, Visual Arts and Psychology, 2013
Ink and acrylic paint
This piece examines the psychological tension between individual and cultural identity. It
explores the immigrants struggle to find a balance between these two, often conflicting,
ideas. Indeed, this search for a unified identity is especially poignant in todays multicultural
and racially turbulent society.
Dressing Room S405
Schuyler Maclay, Visual Art and MCM, 2010.5 and Ariel Schecter, Science and Society,
Arduino microcontroller, wiring, relay switches, wood, acrylic, incandescent light bulbs.

A microcontroller uses mechanical relay switches to control the semi-random flashing of 45

independently wired light bulbs. Visual imprints from the filaments, clicking sounds made by
the relay switches, and shifting shadows cast on the walls comprise a unique sensory
Elevator vestibules
Erina Shibata, Visual Art, 2010
Untitled 1 and Untitled 2
Ink, watercolor, gouache, acrylic, acrylic medium on acetate
I am intrigued by the ability that light, reflection, and transparency have to capture our eyes
attention in a way that allows us to experience a moment that is personal, solitary, and
contemplative. Granoff Centers expansive walls, large windows, and the amount of light
that the glass shines through into the building inspired this piece.
Christopher Yamane, Visual Art, 2012, Lauren Youngsmith, Visual Art 2013
Collaborative Chair Series
Wood, Sharpie ink, acrylic, each 32 x 16 x 17""
A series of chairs created as an exercise in two-dimensional/three-dimensional collaboration,
organized in chronological order.
Lower Lobby 100
Ethan Zisson Visual Arts, 2013
3 by 4
Acrylic on Particle Board
The lines in this piece are representative of two merged hypercubes (in which every corner
of every face are connected). The symmetrical pattern is representative of connecting the
vertices of seven separate squares, 3 down the middle and 4 on either side, (the square in the
center of the piece is shared by both cubes). Overlaid, in shapes of color, is an asymmetrical
pattern of four isometric hollow cubes.
Jill Silverberg, Visual Arts and the History of Art & Architecture, 2011
Slabs No.1
Oil on canvas, screws
Slabs of rock make up an enigmatic rock form from another time. Screws appear to hold
the painted slabs together.
Jill Silverberg, Visual Arts and the History of Art & Architecture, 2011
Black Beauty

Oil on Wood Panel, Hinge, Wire, Nails

This painting is based on the film Black Beauty, a cornerstone of my childhood.
Multi-Media lab & Electrical Shop
Travis Bogosian, MCM & Computer Science Dual Concentration, 2013, and Ashton Strait,
Chemistry and Visual Arts, B.A. 2013
Video projected on glass
NOTE: this work is visible on exterior of building, housed across two rooms
Our work is about movement: where it comes from, what it does, and how it translates in
visual space. We've chosen to set our piece in a non-traditional frame, where the dichotomy
between negative and positive space and the viewer's expectations and reality eventually
results in disharmony. Our frame also echoes the unconventional architecture of the
building upon which it is projected as both provide subtle shifts in expectations that enhance
the viewer's perception and experience of the work."
Multi-Media Lab N320
Dylan Fried, Environmental Studies, 2013
Learning to Play
Digital/Musical Installation
Learning to Play interrogates the idea of emergent intelligence by playing music along with
whoever plays the keyboard. As the person plays Learning to Play becomes better. By basing
the melody off of the unique actions taken by the person, Learning to Play creates a unique
musical intelligence with each interaction.
Benny Lichtner, Physics + Literary Arts, 2012
One or More Disfigurements in the Home
Java Application w/ Processing and RiTa libraries
One or More Disfigurements in the Home is a hypertextual fiction involving the memory and
disfigurement of a narrator within the home. The text is derived from an excerpt of an
original work of fiction. All interaction is through the mouse, every reading will differ, and
one full reading will probably take around twenty minutes.
Daniela Postigo, Modern Culture and Media, 2010.5
2406 Cubes
Processing, Java, animation

A 3D rendering of colored cubes in a larger cube. The movement of the cubes is determined
by an algorithm and influenced by movement of the cursor. It is written in Processing and
exported as a Java applet. Stills were taken of the animation and translated to other media.
Upper Lobby -- 200B -- sliding wall
Steven Gordon Holman, Visual Arts, 2011
Trilobite Map II
Ink, Charcoal, Graphite, Maps, Prints, Collage on Paper
Trilobite Map II serves as a sort of self-portrait, a collection of places, events, and
iconographies that shaped me in my childhood and influenced who I am today. The paper
materials used in the collage consist of maps and prints of patterns and images, their
application onto the piece reminiscing lapidary work.

Production 2-N420
[note: this space will have a series of performances, as follows]
Nicolas Baird '14, Hanne Brynildsen '11, Kristen Van Liew GS, Alison Murphy '14, Nadia
Hannan '14, and Remy Fernndez-OBrien '12, in collaboration with painter Sharon Cutts.
I Set Aside Childish Things
Dance, painted boxes, projection, hanging painting
I Set Aside Childish Things is a coming of age story, told through the medium of dance. It
draws on themes of isolation and burden, loosely drawn from Dantes Inferno. Ultimately,
the thrust of the piece is learning to cope through unified struggle.
Fatimah Asghar, Africana Studies/International Relations, 2011
Jamila Woods, Africana Studies/Performance Studies, 2011
Performance Poetry/Photography
An alternative articulation of beauty, pretty/ugly challenges traditional definitions of beauty by
experimenting with performance and manipulation of words. The fight in every poem is
telling stories that are considered painful, mundane, or taboo while showing that beauty
exists within them. We aim to redefine negative experiences by empowering ourselves and
recognizing the strength in raw artistic expression."
4) intermission until after opening events in main auditorium, then:
Bevin Kelley, MEME PhD Candidate

Magnetic Conspiracy
Sound and projection, live electronics
Guest vocalist: Ric Royer, Theater and Performance Studies PhD first year
Magnetic Conspiracy is a work for live audio/video/voice, performed and manipulated with
custom controllers in real-time. Bevin Kelley (aka Blevin Blectum) has performed
extensively, at home and abroad, as an electronic/computer musician and multimedia
composer. Writer/performer Ric Royer joins her as guest vocalist. Based on text by Reza
Production 3-N430
Gabriela Baiter, Visual Art, 2011.5; Kelly Winter, Visual Art and Applied Math, 2012
Sound by Peter Bussigel.
Tree trunk, wax, foam, steel, nails, felt, paper, yarn, thread, pins, leaves, cardboard, beads,
paper-mache, chicken wire, fabric, latex, washers, chains, metal, saw blades. Sound
installation created by Ipod Nano , wire and ear buds.
Treescape is a synthetic manifestation of natural phenomena. The piece seeks to draw the
finest of lines between the real and the surreal. Through the integration of sculpture and
sound, Treescape emulates the natural beauty found in decay both visually and aurally. This
sculpture is an embodying experience that pushes nature beyond its limitations, inviting
outsiders into a habitat worthy of unpacking.
Nick Carter, Visual Art 2011
Archival Painting 2
Acrylic, ink on canvas
My work involves systematic processes of mark-making and mark elimination in which
layers are created, obscured, and excavated so that the final state of the piece refers to my
choices and actions as well as the properties of the mediums and tools I implemented.
Jacob Geller, Visual Art, 2012
Cotton Thread, Elastic Thread, Pencils.
Liminality is the representation of space and line caught impossibly between two dimensions.
The construction of the piece was inspired by the fusion of close-up magic and drawing, two
independent art forms that seek to produce a similar moment of astonishment through the
use of illusion and perception.
Renee Elizabeth Neely, English Literature and Cultures, 2011

Clay/Plaster Cast, 15 x 12"

Mnemosyne (Memory) was the mother of the nine Muses. I believe there is healing and
recovery in our reflections. I returned to Brown in 2010 after a 30-year absence. When
viewing my work I hope one feels beauty and peace.
Anne Oram, Visual Art and Mechanical Engineering, 2012
Sliding Stellated Octahedron
Tin-plated steel
This piece is a study in interlocking geometries. Although it is composed of only two simple
shapes, a complexity develops in the composition. An infinity of forms are obtainable by
sliding the stellated octahedron on the prism.
Cecilia Salama, Visual Arts, Mathematics 2012
Steel, fabric, PVA
Cecilia Salama, Visual Arts, Mathematics 2012
Second Fig
Oil, acrylic, pencil, baseboard, pumpkin on wood panel
Cecilia Salama, Visual Arts, Mathematics 2012
The Lamp and the Bell
Oil, pencil, lead on wood panel "
Production 4 N330
Angela Ferriaolo, Literary Arts, MFA 2012, Greg Nemes, Architecture, M.Arch 2012, Ben
Nicholson, MEME and Literary Arts 2011
Mixed media, Custom software
This piece provides participants with a platform for mediated communication. The system
governing this platform prescribes a specific routing of information from one modular unit
to the next. The system is embodied in the form of a black monolith, an autonomous figure
of control.
Michela Fitten, International Relations & Modern Cultures and Media, 2011.5
Computer Printout on Photo Paper
Re-Introductions explores how immigrants are branded by the rhetoric of illegality. Illegal
immigrants are denied civil rights, access to education, welfare, and financial capital. They

are constantly threatened by surveillance practices that objectify people. Re-introductions

seeks to resist this objectification by re-appropriating surveillance technology to make visible
the experiences of immigrants.
Project Studio N441
Ecce Etude Mash Up
An installation by the American Dance Legacy Institute (ADLI) housed at the John Nicholas
Brown Center. Project Director: Julie A. Strandberg, ADLI Co-Founder & Brown Dance
Program Founding Director. Project Coordinator: Adrian Moore, ADLI Graduate Assistant
and Public Humanities, MA 2011
Choreography of Ecce Etude: Danny Grossman, based on his Ecce Homo (1977)
Sculptors: Lukas Bentel, Brown-RISD BA/BFA 2015; Isabel Mattia, Visual Art and Africana
Studies, BA 2011
Original Dance Performances: Lindsay Babbitt, Literary Arts, BA 2011.5; Valerie Hsiung;
Annie Rose London, Biology, BA 2011.5; Adrian Moore, Public Humanities, MA 2011;
Meara Sharma, Comparative Literature, BA 2011
Inspired by Ecce Etude, choreographed by Danny Grossman with music by JS Bach,
including video-projection of the dance and sculptures that inspired Grossman, an original
sculpture by two Brown visual art students and original performances by five Brown dancers
responding to the composite images.
Project Studio 205
C. Chris Erway, Computer Science PhD 2011
Traffic Phase
Video, sound
Traffic Phase synthesizes two YouTube videos, Shanghai traffic honking and Violin Phase
by Steve Reich. The performance of the minimalist work Violin Phase is presented
uninterrupted in the bottom frame, from a 2008 performance in Cincinnati. Above,
segments of traffic are chosen based on similarities in pitch, timbre, and loudness.
Project Studio N341
Brice Peterson, Visual Art and English, 2011
The Second Meeting: The Fantast Expounds on Creative Catharsis
Acrylic and gold leaf on canvas, projected hand-cut paper, marker, and graphite
In this work, the Inner Man (the cut paper) again meets the Outer Man (the gold canvases).
This meeting betrays a base mistrust, as the Fantast attempts through diagrammatical means
to reconstruct and reinterpret the identities of these fragmentary beings. Here creative
catharsis demands one must submit to the other.

Project Studio S305

Shane Farrell Visual Art and Psychology 2011
Art History via Google Image Search
Acrylic Painting and Video Projection
My piece explores the casual relationship between artists and art history created by Google
image search. Artists can lazily Google art historical content instead of properly researching
the topic to gain full insight. The bright neon colors both mimic a glowing computer screen
and create an overwhelming visual experience.
Stair 3-N4S3A
Maia Chao, MCM 2013
Juf Wilfrie
16 mm film, sound
Thoroughly entertained by Jaaps charismatic and candid story-telling, I interviewed him
about his childhood in Holland while he performed his daily exercise routine. I was intrigued
by the dual meaning of magnetism within the vignettethe innocent scientific concept itself
and the suggested attraction between Jaap and his elementary school teacher.
Stair 3-N4S3B
Chris Novello, MCM 2011
Digital. Video Game Mechanics/Physical Instrument/Generative Software Art (visuals,
sound, interactivity)
Illucia is a codebending instrument that collides gaming, real-time-routing inspired by
modular synthesizers, and generative art. It is a universal language for communication
between computer programs, and thus asks questions about software mythologies, and
interrelation/mutuality. It is also an interactive instrument, and incitement to play. Illucia is
Stair 3-S3S3A
Not a Word Out of You
Mark Baumer, Literary Arts MFA 2011, and Andrew Bourne, Literary Arts MFA 2011
Performance for an actor, director, and foam dummy
This performance addresses four basic questions: What is a human? Why do we live on
Earth? Who is god? Why are we attracted to blonds?

Stair N-S3S3B
Angela Ferraiolo, Brown Literary Arts, 2012
Subway was shot on video in New York during the fall of 2010, then converted to single
frames and reassembled by a computer. While working with computational text, I noticed a
similarity between language and film montage. I wondered what video would look like if
these motifs were manipulated algorithmically.
Angela Ferraiolo, Brown Literary Arts, 2012
Video with text
The Loop is a video text that describes a tangled path of association. The story is modeled
after Hofstadters proposal that our minds determine the world by way of a process in which
cause and effect may switch around or become strange. This version of The Loop responds
to the Beacon, a sequence of nine integers designed by John Cayley to reflect the states of a
digitally mediated literary process.