By Amelia Kahl & Spencer Topel
Aug 04, 2018

We would like to thank the wide range of individuals who made the Resonant Spaces exhibition and publication possible. First, we are grateful the artists for their creativity and thoughtfulness. Bill Fontana, Christine Sun Kim, Jacob Kirkegaard, Alvin Lucier, Laura Maes, Jess Rowland, and Julianne Swartz were all a pleasure to work with. Special appreciation is due to Merele Adkins, widow of Terry Adkins, who lent his work to the show. We would also like to thank Gascia Ouzounian and Brett Littman for taking the time to engage with the exhibition and share their thoughts in this publication.

Because Resonant Spaces occupied so many locations, five of which were not typical gallery spaces, we have many site partners to thank. We appreciate the efforts of the Fairchild Atrium Committee, specifically Kim Wind; Conferences and Events, particularly Jim Alberghini; Ann Lavanway at the Life Sciences Building; and the Biological Sciences faculty, including Sharon Bickel, Michael Hoppa, and Eric Schaller, who generously allowed Bill Fontana to record sounds throughout their labs. We would like to thank Dartmouth’s Associate Librarian for Research and Learning Jennifer Taxman and librarian Laura Graveline at Sherman Art Library for hosting Julianne Swartz’s work. We are indebted to Dean Joseph Helble and Christine Cook at the Thayer School of Engineering for hosting Laura Maes’s project. Jerry Auten, a faculty member in the Studio Art Department, was instrumental in facilitating our use of the Strauss Gallery to show Christine Sun Kim’s work for the term. We are grateful to Deborah Churchill and Karin Rothwell with the League of New Hampshire Craftsmen for working with Christine. We would also like to recognize the work of ASL interpreters Victoria Clark, Cylyn Reviczky, and Denise Khaler.

The partnership of Dartmouth’s Facilities Operations and Management department was instrumental in the success of this project. In particular, we thank Frank Roberts, Rick Jaros, Jonathan Stark, Todd French, Frank Furman, John Biele, and Greg Frost, along with many others who worked on the exhibition. Their creative problem solving and professionalism added much to the installation of Resonant Spaces.

The exhibition was generously supported by the George O. Southwick 1957 Memorial Fund, the Eleanor Smith Fund, the Department of Biological Sciences, the Thayer School of Engineering, and the Danish Arts Foundation. Their contributions made possible the realization of our curatorial vision. Thanks on that score are due as well to the Hood Museum of Art staff, particularly Nicole Williams, Matthew Zaytaz, Sharon Reed, and John Reynolds. We are also grateful to Lauren Barnes, Trevor Saint, Dartmouth alumna Rebecca Drapkin, and Dartmouth student Josh Davis, who all assisted with different facets of the installation. Finally, we would like to thank Paula Matthusen, sound artist and professor of music at Wesleyan University, for her contributions to the Resonant Spaces symposium.

We appreciate the work of Ben Silberfarb and Joseph Beaudoin, who did much of the video work for this e-publication, and of James Napoli, who made audio recordings of the installations. Thanks is also due to our editor, Kristin Swan. This e-publication would not have been possible without the work of Deputy Director Juliette Bianco, Associate Director for Strategy and External Relations Nils Nadeau, Public Relations Coordinator Alison Palizzolo,  and Digital Platforms Specialist Meredith Steinfels, all at the Hood Museum of Art.


Spencer Topel
Assistant Professor of Music, Digital Musics Program, Dartmouth Department of Music

Amelia Kahl
Associate Curator of Academic Programming, Hood Museum of Art, Dartmouth

The Contributors

  • Amelia Kahl Headshot

    Amelia Kahl is the associate curator of academic programming at the Hood Museum of Art. She runs the museum’s Bernstein Center for Object Study and teaches with the museum’s 65,000-object collection across the Dartmouth curriculum. Her exhibition projects for the Hood have included "Water Ways: Tension and Flow" (2015), "The Stahl Collection" (2015, co-curated with Barbara MacAdam, Jonathan L. Cohen Curator of American Art), and "Emmet Gowin Dreams of Stars" (2014).

  • Topel Headshot

    Spencer Topel creates installations and performance pieces that are immersive experiences, fusing sound, visual components, and interactive expression. Trained in music conservatories as a composer and violinist, he produced work for orchestral and chamber ensembles for over twenty years. In 2011 he collaborated with sculptor Soo Sunny Park on a yearlong installation titled Capturing Resonance, presented at deCordova Sculpture Park and Museum in Lincoln, Massachusetts. Since then, Topel’s practice has expanded to include visual art in a distinctive body of work that engages artwork as observer and listener, where installations gain agency in the interactions between visitors and environments.