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Current Exhibitions

The Other 90%: Works from the GW Permanent Collection

March 16 - June 3, 2016

Norman Rockwell, Portrait of a Man

Image: Norman Rockwell, Portrait of a Man, c. 1929, oil on canvas, 34 x 20 inches.
Gift of Frank B. Hand, Jr.


Coloring Pages: Works from the Corcoran Collection of Artists' Books

January 19 - March 25, 2016

Coloring Pages
With winter now making its appearance, we look for other sources of warmth in these sometimes-dreary months. Artists' books from the Corcoran Art & Design Collection showcase color and color imagery in the pages of their work. Some stories are told completely through color; others, though they might use muted palettes, create a sensation with words that paint images of colorful scenes. These bright pages serve as a complement to the exhibition Color Bloc: Paintings by Elizabeth Osborne, on view in the Luther W. Brady Art Gallery through February 26, 2016.

The exhibit displays only a sampling of artists' books from the Art & Design Collection from the Corcoran. These and many others can be viewed in the Special Collections Research Center at GW's Gelman Library. Visit http://library.gwu.edu/scrc to find out more.

Upcoming Exhibitions

Along the Eastern Road: Hiroshige's Fifty-Three Stations of the Tokaido

August 24 - December 2, 2016

Elizabeth Osborne, Portrait
Image: Utagawa Hiroshige, 20th Station: Mariko, circa 1833-34 from "Fifty-Three Stations of the Tokaido Road," woodblock print, courtesy Reading Public Museum, Reading, Pennsylvania.

Recent Exhibitions

Color Bloc: Paintings by Elizabeth Osborne

December 9, 2015 - February 26, 2016

Elizabeth Osborne, Portrait

Image: Elizabeth Osborne, Audrey in Profile, 2014, oil on canvas, 48 x 48 inches.
James A. Michener Art Museum. Museum purchase funded by Bonnie O'Boyle and the Mandel Society for Art Acquisitions and partial gift from Locks Gallery.


Veils, blocks, bands and wavy strokes of color are the hallmark of Elizabeth Osborne's paintings. Whether fully abstract or punctuated by the artist's treatment of the figure and objects, Osborne's paintings show a skillful handling of color and command of her technique. Osborne typically paints on a canvas laid on the floor. This technique enables her to perfect a wavy brush stroke, which has become her signature. The rich color juxtapositions and linear compositions evident in her work can be likened to Washington Color School painters such as Gene Davis, Morris Louis and Kenneth Noland.

Osborne was a professor at the Pennsylvania Academy of the Fine Arts from 1963-2011 and has influenced a generation of painters and artists. The Brady Gallery exhibition is derived from the Veils of Color exhibition organized by the James A. Michener Art Museum in Doylestown, Pennsylvania. Unique to the Washington show, loans from the artist and Locks Gallery in Philadelphia round out the exhibition. The Friends of the Luther W. Brady Art Gallery provided partial funding for the exhibition.

Absence/Presence: Selected Contemporary Photography

August 26 - November 20, 2015
How does one measure emptiness and can it be measured? Images that are devoid of people give us a taste of what we leave behind when we take a step away: an abandoned bowling alley, a stark prison cell, or an empty desk. They imply a sense of absence, but they are far from empty and the human presence is visible and felt. Featuring works from the GW Permanent Collection and various lenders, this exhibition explores the traces of human presence left behind in 'unpeopled' photographs of interiors and other spaces, whether temporarily empty, permanently abandoned, or made to appear so by the photographer's viewpoint or photographic processes. Artists include Nancy Breslin, William Christenberry, Cynthia Connolly, Lisa Tyson Ennis, Frank Gohlke, Dean Kessmann, Bridget Sue Lambert, Dan Lobdell, Pablo Maurer, Andrew Moore, E. Brady Robinson, Lee Saloutos, Katherine Sifers, and Trine Søndergaard.
Partial funding provided by the Francine Zorn Trachtenberg Photography Fund and the Friends of the Luther W. Brady Art Gallery.

Andrew Moore, Bowling Lanes, Governors Island Nancy Breslin, Queen Mary II

Above left: Andrew Moore, Bowling Lanes, Governors Island, NY, 2001, Chromogenic Print, 40 x 50 inches. Photo courtesy of the artist and Yancey Richardson Gallery. Above right: Nancy Breslin, Queen Mary II, Deck Chairs, 2015, ultrachrome pigment print, 15 x 15 inches. Photo courtesy of the artist.

Art in the Making: A New Adaptation

May 6 - July 17, 2015

Kit White-MLRothko Kit White-FStella

Art in the Making: A New Adaption celebrates artwork by teachers and students of three New York City art institutions with their counterparts at The George Washington University's Corcoran School of the Arts and Design. First presented by the FreedmanArt gallery in New York City, the exhibition was triggered by the coinciding 50th anniversary of the New York Studio School of Drawing, Painting and Sculpture, 140th anniversary of The Art Students League of New York and 125th anniversary of Pratt Institute. In addition to selected pieces from the New York City exhibition, the Luther W. Brady Art Gallery presents pieces from artists associated with the Corcoran School of the Arts and Design.

Art in the Making: A New Adaptation at the Brady Art Gallery illustrates how the interconnectedness of making art is pertinent to the University's expanded dedication to the arts. The exhibition has pieces that represent the three New York City institutions from the original exhibition at FreedmanArt including work by Lee Bontecou, Helen Frankenthaler, Michael Goldberg, Nancy Graves, Stephen Greene, Hans Hofmann, Bill Jensen, John Marin, Knox Martin, Charles Pollock, Jackson Pollock, Larry Poons, Richard Pousette-Dart, Robert Rauchenberg, William Scharf, and Kit White. Art from the GW Permanent Collection representing the Corcoran School of the Arts and Design includes works by Gene Davis, Georgia Deal, Tom Downing, Ben Ferry, Sam Gilliam, Janis Goodman, Tom Green, Andrew Hudson, Richard Lahey, Jules Olitski, Dennis O'Neil, Ann Purcell, Paul Reed, and images of sculpture by Carol Brown Goldberg and Berthold Schmutzhart.

Kit White-MLouis

Top left: Kit White, "After" Mark Rothko, "Red, Orange, Tan, and Purple," 1954, 2011, graphite on paper, 9" x 11-5/8" (sheet). Top right: Kit White, "After" Frank Stella, "Die Fahne Hoch," 1959, 2011, graphite on paper, 9" x 11-5/8" (sheet). Bottom: Kit White, "After" Morris Louis, "Alpha-Phi," 1961, 2011, graphite on paper, 9" x 11-5/8" (sheet).



Luminaries: Portraits from the GW Permanent Collection

February 11 - April 24, 2015

Whether icons of literature, politics, or film, some names and faces become etched in our collective minds in a moment that defines them, captured in an unchanging picture. Luminaries presents a selection of these memorable names and faces, captured by artists in prints, paintings, reliefs, and photographs selected from the GW Permanent Collection. While traditional portrait painting was made by direct observation and the artist's hand, in the twentieth century many artists discovered other means of capturing their subjects: painting from photographs, creating lively caricatures, or appropriating source images from history or popular culture for a new spin on the portrait.

The exhibition displays, for the first time, six screen prints by Andy Warhol, recently gifted to the collection by the Warhol Foundation as part of its initiative to place Warhol's work in university museums and collections and show works previously unseen by the public. Luminaries also includes portraits of celebrities such as Mick Jagger, Audrey Hepburn, Debbie Reynolds, Elizabeth Taylor, Groucho Marx, and political and cultural figures, such as William Wilson Corcoran, Ulysses S. Grant, Sen. Edward Kennedy and, of course, George Washington. Works from notable Washington-based artists Aline Fruhauf, Joe White, and Clark V. Fox are also featured.

Susan Roth: Form, Frame, Fold

October 22, 2014 - January 30, 2015

Susan Roth
Susan Roth, The Great Oz, 2011, acrylic and acrylic skin on canvas, 70" x 43". Courtesy of S&D Studios.

Color is the vessel in which Susan Roth's paintings chart their course. Having access to many hues and types of acrylic pigments (acrylic paint is any paint containing acrylic resin), the artist's stance is aggressive, groundbreaking, and "tough." John Link cited "Susan Roth's Toughness." "Thus toughness can be an effect of the directness of some beautiful things, a directness that ultimately supports pleasure and satisfaction not pain. You pass through difficulty in Manet and Pollock on your way to satisfaction when you see their pictures come together as pictures, not as their point when you "understand" them."

Roth's paintings are exemplary for the use of "High-load" gesso and other unique acrylic paint mediums, developed over a decades-long collaborative relationship with Golden Artist Colors. Her paintings feature numerous layers of paint, folded canvas, accretions such as glass, acrylic "skins," and painted "boxtops." Her sculptural "steel paintings" encompass another aspect of her work, graduated, non-uniform application of powder coated pigment. The powder coating process affords texture and color simultaneously that when heated in the kiln, melds with the surface of the steel. Roth's imaginative titles such as Hall of the Mountain King and Ley Lines inspire personal associations, but not literal interpretations. While not seeking to be descriptive, the interplay of her titles and her work produce a point of entry into the work for the viewer.

The exhibition will contain 21 works by the artist, both paintings and "steel paintings," sculptures that both hang on the wall and some that are free-standing. Many of the works are new and have never been exhibited in public before. An illustrated catalogue will accompany the exhibition featuring contributions by Carl Belz, Lenore D. Miller, and Nancy Keefe Rhodes. Surface, shape and time in her work is conveyed in an interview between the artist and curator Lenore Miller. The basis for the interview was a series of discussions held over a period of time in her home and her studio.

Susan and her husband artist Darryl Hughto reside in Canastota, near Syracuse, New York. Both have been in discourse with many of the foremost painters and sculptors of the twentieth century, including Anthony Caro, Kenneth Noland, Jules Olitski, and critics Clement Greenberg and Dominique Fourcade.

Icons of British Sculpture

August 28 - October 10, 2014

Moore
Henry Moore, Draped Reclining Figure, Knee, c. 1981, bronze, 6" x 8" x 5". Collection of Dr. Luther W. Brady.

The British landscape has informed its artists for centuries, their sculptors taking cues from the craggy beaches and rolling hills. Organized by the Reading Public Museum in Reading, PA the exhibition includes work by: Kenneth Armitage, Anthony Caro, Lynn Chadwick, Barry Flanagan, Barbara Hepworth, and Henry Moore.

Chadwick
Lynn Chadwick, Bronze Maquette with Winged Figures (two pieces), 1973, bronze with black patina, 10" h. Collection of Dr. Luther W. Brady.

To view past exhibitions please view our Exhibition Archive


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