{"id":593,"date":"2023-09-20T19:41:37","date_gmt":"2023-09-20T19:41:37","guid":{"rendered":"https:\/\/www.trincoll.edu\/austin-arts-center\/?page_id=593"},"modified":"2025-12-10T14:19:59","modified_gmt":"2025-12-10T14:19:59","slug":"past-exhibitions","status":"publish","type":"page","link":"https:\/\/www.trincoll.edu\/austin-arts-center\/widener-gallery\/past-exhibitions\/","title":{"rendered":"Past Exhibitions"},"content":{"rendered":"

Are You Also Divergent, Friend?<\/h2>\n
\"\"
Dennis Delgado, Moonlight<\/figcaption><\/figure>\n

An Exhibition by Dennis Delgado<\/h2>\n

October 6 – December 5, 2025<\/h3>\n

In the midst of increased controversy over AI and its impacts on individuals and society, Are You Also Divergent, Friend?<\/em> addresses the experience of being a person of color in a new age of automated and algorithmic surveillance. Four projects, including video, tapestries, installation, and collage, explore how technologies of vision shape the discursive formation of the \u201cOther,\u201d and how the colonialist gaze was coded into the surveillance tools of today, revealing a historical presence in the current moment.<\/p>\n

Ultimately, Are You Also Divergent Friend?<\/em> asks, can computers be taught to regard every subject\/object as equal if it diverges from invisibly established norms? Or has the colonialist gaze been embedded into their software from its inception, pointing their development in a direction that is both generative, cumulative and therefore difficult to reverse?<\/p>\n

__________________________________________________________________________________________________________________________________________________________<\/p>\n

Echoes and Collisions: The Art of Frantz Patrick Henry in Conversation with Selections from the Edith A. Graham Collection of Haitian Art<\/h2>\n
\"\"
Photo by Pablo Delano<\/figcaption><\/figure>\n

January 30 \u2013 April 30, 2025<\/h3>\n

Echoes and Collision <\/em>asks: What happens when artistic legacies and contemporary visions meet, but do not always fit? How can moments of dissonance be as generative as moments of unity?<\/p>\n

This exhibition features installation art by F. Patrick Henry in conversation with selections from the Edith A. Graham Collection of Haitian Art. \u00a0<\/em>The resulting dialogue oscillates between harmony and dissonance, connection and collision, inviting viewers into a speculative space where the boundaries of time dissolve, and art becomes a bridge between histories and imagined futures. Here, cultural narratives intertwine, but sometimes misalign, reflecting the complexity of navigating art across different timelines.<\/p>\n

The Edith A. Graham Collection of Haitian Art was donated to Trinity by members of the Graham family in memory of their mother. Born of a 40-year commitment to Haitian art, the collection holds vibrant expressions of spirituality, resilience, and cultural identity. These paintings, sculptures, and ceremonial objects evoke a Haiti that exists beyond historical constraints \u2014 a Haiti reimagined, where traditions continue to evolve. Henry\u2019s work engages with these legacies, at times echoing them, and at other times clashing, questioning, and reshaping them. The result is a dynamic tension, where past and present do not always seamlessly align, but instead create new, unexpected meanings.<\/p>\n

Sponsored by the Department of Fine Arts and the Center for Caribbean Studies.<\/p>\n

____________________________________________________________________________________________________________________________________________________________<\/p>\n

Devotion: Photographs from the Collection of the Watkinson Library at Trinity College<\/h2>\n
\"\"
Ken Heyman, Father Carrying Two Daughters, Hong Kong, China, 1965, gelatin silver print, Watkinson Library, Trinity College, Hartford, CT, Gift of Michael and Joan Gray<\/figcaption><\/figure>\n

November 11 – December 9, 2024<\/h3>\n

Devotion: Photographs from the Collection of the Watkinson Library at Trinity College<\/em>, is an intimate exploration of the connections that shape our lives, highlighting themes of love, family, friendship, kinship, and care as we evolve from childhood to adulthood. The exhibition presents a selection of gelatin silver prints by Mike Disfarmer, Franti\u0161ek Drtikol, Leonard Freed, Ken Heyman, Henry Horenstein, Leon Levinstein, Jacques Lowe, Danny Lyon, Erika Stone, Lou Stoumen, and William Witt. The photographs, taken between 1925 and 1981, embody the essence of human connectedness, exploring love, family, friendship, kinship, and care from childhood through adulthood.<\/p>\n

Thanks to generous gifts by a small group of donors, shepherded by Michael Mattis and Judith Hochberg, the Watkinson Library at Trinity College\u2019s Photography Collection provides an important pedagogical resource for students, faculty, and community members interested in understanding our historical past and the trajectory of the art of photography.<\/p>\n

Curated by Adrian Martinez Chavez, Visiting Assistant Professor of the Practice in Fine Arts<\/p>\n

______________________________________________________________________________________________________________________________________________________<\/p>\n

Detritus<\/b><\/h2>\n
\"\"
Photo by Pablo Delano<\/figcaption><\/figure>\n

September 16 – October 28, 2024<\/b><\/h3>\n

Detritus<\/em> brings together four artists creating works of art from discarded objects and materials and address an urgent need for change. Faustin Adeniran, Marsha Borden, Kathryn Frund, and Ian Trask each consider the complex relationship between nature and humanity, by viewing what we throw away as a reflection of individual and collective values<\/p>\n

Adeniran\u2019s work is rooted in transformation; by repurposing discarded objects, he subverts Western sensibilities imposed through colonialization and invites viewers to reconsider their relationship with consumption and waste. Borden treats single-use plastic bags as precious objects to be cherished, emphasizing the duality of modern mass production, noting the hypocrisy of single-use objects\u2019 durability and cheaply manufactured textiles\u2019 low quality. Frund\u2019s nautical maps, made of synthetic clothing intercepted from the waste stream, address the repercussions of consumer culture on our oceans and explore ideas of transcendence and restitution. Trask combines a curiosity about the adaptation and resilience found in the natural world with his concern for material waste; intrigued by our shifting perceptions of what is needed or valued, he repurposes trash as artist materials in a continual process, mimicking natural systems of transformation and rejuvenation.<\/p>\n

Curated by Lisa Lynch, Director, Widener Gallery<\/p>\n

<\/h2>\n

___________________________________________________________________________________________________________________________________________<\/p>\n

Rise<\/b><\/h2>\n

February 26 \u2013 April 14, 2024<\/b><\/h3>\n
\"\"
Nick Caito\/Trinity College<\/figcaption><\/figure>\n

Rise<\/span><\/i> presents a selection of recent works from alumni artists <\/span>spanning twenty years of the Trinity College Studio Arts Program Postbaccalaureate Fellowship. The featured paintings, prints, installations, videos, textiles, and assemblages stem from close observation of current realities and research directed at future change.\u00a0<\/span>\u00a0<\/span><\/p>\n

Exhibiting artists include Alison Cofrancesco (\u201920), Sebastian Ebarb (\u201906), Ilana Harris-Babou, Brenda <\/span>Ordo\u00f1ez-Guill<\/span>\u00e9n (\u201922), Samantha Kasubaski Rosado, Harrison Kinnane Smith, and Nick Van Zanten.<\/span>\u00a0<\/span><\/p>\n

The Studio Arts Program Postbaccalaureate Fellowship at Trinity College<\/span> provides support and workspace for recent arts graduates as they shape the direction of their art and prepare for graduate school. <\/span>The Studio Arts Program gratefully acknowledges the support of The Deborah Buck Foundation and the Hilla von Rebay Foundation<\/span>.\u202f<\/span>\u00a0<\/span><\/p>\n

Curated by Lisa Lynch, Director, Widener Gallery<\/p>\n

__________________________________________________________________________________________________________________________________________________<\/p>\n

We Find Ourselves In This Place<\/h2>\n

November 13 – December 18, 2023<\/h3>\n
\"\"
Tra\u00e9 Brooks, Primordia<\/em>, 2023, slag & paper, 56 x 37”<\/figcaption><\/figure>\n

We Find Ourselves In This Place<\/em> features work by Tra\u00e9 Brooks, Sophia DeJesus-Sabella, and Kevin Hern\u00e1ndez Rosa, three Hartford-based artists producing sculpture, assemblage, drawing, and weaving works that engage with how identity is shaped by\u2014<\/strong>and in turn shapes\u2014<\/strong> history and culture.<\/p>\n

Many of the exhibited artworks are made with everyday materials and objects. With these often discarded or mundane things, the three artists engage with complex issues of identity, race, class, gender, and sexuality. The found objects hold only so much cultural information on their own. Looking at how the artists transform these materials, we begin to see subjects\u2014memory, trauma, labor, agency\u2014in actions including impressing, indenting, pulling, erasing, wrapping, covering, and stacking. These sculptural works appear malleable and show records of constant formation. The past is seen in residual imprints of things no longer present, or glimpses of what\u2019s hidden within the folds of something new.<\/p>\n

We Find Ourselves In This Place<\/em>. This title refers to either a place in history or a location\u2014maybe this gallery, a home, a city. Whatever this place<\/em> is, in different ways, it influences us. In turn, our presence in this place also creates change. The transformed things in the exhibition \u2014whether a fork, a wheel, or a bucket\u2014all seem to operate as stand-ins for the self in how they are altered, as well as positioned like bodies in space. Each object seems to operate as the shifting site of the individual, variably registering place and in turn uniquely standing in place.<\/p>\n

Curated by Lynn Sullivan, Assistant Professor of Fine Arts<\/p>\n

__________________________________________________________________________________________________________________________________________________<\/p>\n

Jenny Wu: Otherly<\/h2>\n

September 25 \u2013 October 23, 2023<\/h3>\n
\"Exhibition
Nick Caito\/Trinity College<\/figcaption><\/figure>\n

Otherly<\/em> includes abstract sculptural paintings by Visiting Assistant Professor in Fine Arts Jenny Wu. Like the exhibition\u2019s title, Wu\u2019s work physically, visually, and thematically refers to the state of being something else \u2013 an unrecognizable art form, an indefinable artistic style, or an individual outside of a socially or politically defined group.<\/p>\n

Through a process of pouring, slicing, and manipulating paint, Wu transforms the two-dimensional medium to a palpable, malleable material that defies categorization. The resulting patterns display repeated but subtly differing timelines of her process, measuring change and progress over time and coalescing into new, cohesive wholes.<\/p>\n

Wu invites gallery visitors to participate in Art for the People, \\\u02c8t\u00fc\\, an interactive, collaborative art project. From a large pile atop a pedestal, visitors may select and take home a tiny cube, comprised of segmented slices of Wu\u2019s poured paint. They are asked to send her a photograph of the cube in its new home, which will be added to an ever-growing online gallery. Here, tiny cubes can be seen resting on leaves or windowsills, traversing nature atop a hiking stick, or interacting with other works of art in galleries. The inclusive project, like Wu\u2019s sculptural paintings, carries themes of regeneration and interconnectedness, as each fragment takes on a life of its own while becoming a part of a new online community.<\/p>\n

Curated by Lisa Lynch, Director, Widener Gallery<\/p>\n

__________________________________________________________________________________________________________________________________________________<\/p>\n

\"image<\/h2>\n

\u201cThe Aesthetics of Information\u201d: No Olvidaremos, An Exhibition by Mar\u00eda Ver\u00f3nica San Mart\u00edn<\/h2>\n

March 13 \u2013 May 13, 2023<\/h3>\n

Chilean artist Mar\u00eda Ver\u00f3nica San Mart\u00edn commemorates the 50th anniversary of the U.S. supported military coup d\u2019etat in Chile, which overthrew the democratically elected president and imposed a regime of repression, human rights violations and political torture. At Trinity, San Mart\u00edn brings together several projects that grapple with and memorialize this history:\u00a0Dignidad<\/em>\u00a0(2018),\u00a0The Javelin Project<\/em>\u00a0(2021), and examples from her\u00a0Moving Memorial<\/em>\u00a0series (2012-ongoing).<\/p>\n

The exhibition is co-hosted by the Department of Fine Arts\/Studio Arts Program and The Watkinson Library, where additional artworks are on display.<\/p>\n

Curated by Erica Wessmann<\/p>\n

__________________________________________________________________________________________________________________________________________________<\/p>\n

\"image<\/h2>\n

Extrusions<\/h2>\n

November 7, 2022 \u2013 December 12, 2022<\/h3>\n

Extrusions<\/em> features the work of Oscar Rene Cornejo, Res, Jessica Vaughn, and Anne Wu.<\/p>\n

Activating a boundary – in one sense – gives rise to form.\u00a0 Edges and limits work to define or identify, to name.\u00a0 The solidification of form can be empowering, unifying, and moving.\u00a0 It can be seen as the point of transformation, when one steps into their own and finds themselves.\u00a0 The boundary can be revelatory.<\/p>\n

Amidst the current immigration crisis, the nationwide attacks on trans-rights and narrowing availability of gender-affirming procedures, and affirmative action on the cusp of being overturned in the United States, each of the four artists represented in Extrusions<\/em> quietly and powerfully address how material, form, space and community take shape in this often inhospitable climate.\u00a0 By highlighting both what is and what is not there, giving weight to absence, each artist shines a light on our assumptions creating space for flexibility in what often feels like an inflexible world.<\/p>\n

Curated by Erica Wessmann.<\/p>\n

__________________________________________________________________________________________________________________________________________________<\/p>\n

Divine Theory<\/h2>\n

\"artMay 20, 2022 – September 30, 2022<\/h3>\n

In Divine Theory<\/em>, Jerome Sicard\u2019s large, stoic sculptures are flanked by the quiet wall works of Brea Campbell-Stewart and bathed in the cassette-recorded sounds of original compositions by artist and musician Miguel Mathias. Together, these visual and auditory components create and aura of sanctity \u2014 borrowing the aesthetic power and calculated opacity of the religious only to deploy them at the contemporary intersections of craft, commerce, and appropriation.<\/p>\n

Curated by Harrison Kinnane Smith, Trinity Studio Arts Program 2021-2022 post-baccalaureate fellow.<\/p>\n

__________________________________________________________________________________________________________________________________________________<\/p>\n

 <\/p>\n

Joseph Byrne: Connemara Paintings<\/h2>\n

April 5 – May 6, 2022<\/h3>\n
\"\"
Photo by Sarah McCoy<\/figcaption><\/figure>\n

Connemara Paintings<\/em> features recent work by Trinity College Studio Arts Program Director and Professor of Fine Arts Joseph Byrne. Honoring the occasion of his retirement, the exhibition includes paintings from 2020 through 2022 that are inspired by the physical surroundings and the cultural and geological history of western Ireland. Connemara is located north and west of Galway City. Byrne frequently paints on-site near the vast Roundstone Bog, which is near his grandmother\u2019s birthplace and is one of Ireland’s last wild natural areas.<\/p>\n

In this most recent series, Byrne distills the material characteristics of this austere landscape into a sensory experience of place. Layers of paint and gestural marks reveal the complexity of the area\u2019s geological formations. Though his practice is grounded in careful observation, Byrne is always navigating between what is out there in the world and his subjective response to it.\u00a0 He has said, \u201cI find the more intimate I become with a particular landscape, the more I can invent and deviate, allowing for that crucial move from description to interpretation.\u201d<\/p>\n

Curated by Felice Caivano<\/p>\n","protected":false},"excerpt":{"rendered":"

Are You Also Divergent, Friend? An Exhibition by Dennis Delgado October 6 – December 5, 2025 In the midst of increased controversy over AI and its impacts on individuals and society, Are You Also Divergent, Friend? addresses the experience of being a person of color in a new age of automated and algorithmic surveillance. Four […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":575,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-593","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nPast Exhibitions - Austin Arts Center<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.trincoll.edu\/austin-arts-center\/widener-gallery\/past-exhibitions\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Past Exhibitions\" \/>\n<meta property=\"og:description\" content=\"Are You Also Divergent, Friend? 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