REFLECT: Photography Looking Forward, Looking Back
April 26 - July 7, 2017
Image: N. Jay Jaffee, Man With Sun Reflector (East New York), 1952 (print date unknown), silver gelatin print,
10 x 8 inches. GW Collection, Gift of Lawrence Benenson, 1982. ©The N. Jay Jaffee Trust.
Drawing from the broad collection of photography in the George Washington University Collection, the new exhibition Reflect at GW's Luther W. Brady Art Gallery invites audiences to examine multiple genres of reflection. The exhibition features the work
of photographers including Andy Warhol, Sally Gall and Philippe Halsman, as well as seven Washington-area photographers.
Reflections can be defined in numerous ways, from a physical mirror image to a contemplative thought on the past, to a resemblance to a person, place or thing. Reflections of all kinds, importantly, show us something of ourselves. For the new exhibition
the Luther W. Brady Art Gallery has invited four local photographers: Ken Ashton, Ryder Haske, Dean Kessmann and Gail Rebhan to exhibit a recent work alongside an earlier work from the GW Collection and include a written reflection of their own.
This project highlights the gallery's ongoing work with students, faculty and alumni artists. The exhibition includes works by Andy Warhol, Sally Gall, Philippe Halsman, Louis Stettner, N. Jay Jaffee, Joyce Tenneson, Stephen Livick, Todd Webb,
Naomi Sakanoue, Jackie Bailey Labovitz, David Scavone and Sandy Sugawara.
This exhibition is partially supported through funds from the Francine Zorn Trachtenberg Fund for Photography, which provides funding for photography collections and exhibitions at the Luther W. Brady Art Gallery. Beginning in 2017, the newly established
Lewis Levy Photography Fund will provide support for the photography collection. The income will be used to purchase notable photographic works and art that incorporates photography in its practice, as well as to store and conserve the photography collection
and support costs associated with photography exhibitions organized by the Brady Art Gallery. Named for the late Lewis E. Levy (B.B.A. '50), the fund celebrates Levy's lifelong interest in photography.
Artistry Portrayed: Photographs of DTSBDC'S "Margin" by Maitailong Du, MA '17
April 10 - June 2, 2017
Image from Artistry Portrayed by Maitailong Du. Image courtesy of the artist.
On view in the gallery's 2nd floor cases is Artistry Portrayed, featuring photographs of "Margin," a dance performed by the Dana Tai Soon Burgess Dance Company, by Matailong Du, MA '17. The photographs by Mr. Du, a student in the Corcoran School
of the Arts and Design, artfully document the production of "Margin" at the Smithsonian's National Portrait Gallery in October 2016. As the National Portrait Gallery's first choreographer-in-residence, Dana Tai Soon Burgess, a GW professor of dance, transformed
six portraits from the Smithsonian Institution's exhibition The Outwin 2016: American Portraiture Today into dance. Mr. Du's captivating photographs portray the movement of the dancers in "Margin" and their interaction with artwork in the galleries during
preparation for their performance.
This exhibition is partially supported through funds from the Francine Zorn Trachtenberg Fund for Photography, which provides funding for photography collections and exhibitions at the Luther W. Brady Art Gallery.
Organized by the Luther W. Brady Art Gallery and presented at the
GW Museum and The Textile Museum
Image: Alma Thomas, Nature's Red Impressions, 1968, acrylic on canvas, 51" x 49-1/2".
Gift of the artist, 1968.
Art collections are made up of more than just objects; they consist of stories of people, cities and institutions. The George Washington University began building its collection of art in 1821. It now owns more than 4,000 drawings, paintings,
prints, photographs and sculptures. This exhibition presents highlights of GW's collection specifically selected to trace the university's history and evolution as a presenter of contemporary art as well as an institution of training for artists
and humanists now and in the future; a charge made more tangible through GW's recent merger with the Corcoran School of Art and Design. Presented in addition to the exhibitions at the Luther W. Brady Art Gallery, this selection is an opportunity
for the public to view works from the university's collection in a different setting.
Works in the exhibition include works by Washington Color School notables such as Gene Davis, Howard Mehring and Alma Thomas; alongside newer acquisitions from artists such as Michael Craig-Martin, Robin Rose and Susan Roth. Included is an
interactive timeline demonstrating the almost 50 year impact of the Dimock and Luther W. Brady Art Galleries to the history of art in D.C.
This exhibition is organized by the Luther W. Brady Art Gallery with the support of the George Washington University Museum and The Textile Museum staff. Partial support for the exhibition was provided by the Frances and Leonard K. Burka
Fund for the Arts, the Friends of the Luther W. Brady Art Gallery and Meredith Mickelson.
A lecture on Art in Washington in the 1960s will be given by Meredith Mickelson on July 14, 2016 at 4:00 pm. More details can be found here
GW Collection Pops-Up in 2000 Pennsylvania Avenue!
For a limited time, works from the GW Permanent Collection are on view in a space in 2000 Pennsylvania Avenue, a DC Landmark listed in the US National Register of Historic Places. Chosen to complement Expansive Visions: GW Collections Past, Present, Future
- currently on view in the GW Museum and The Textile Museum. That exhibition presents selected highlights of GW's collection that trace the university's history and evolution as a presenter of contemporary art.
Glenn Goldberg: Of Leaves and Clouds
January 11 - April 14, 2017
Image: Glenn Goldberg, Up Above (Panorama 2), 2007, acrylic, ink, and gesso on canvas, 28" x 52." Image courtesy of the artist.
The George Washington University's Luther W. Brady Art Gallery will showcase paintings, small ceramic objects and works on paper by Glenn Goldberg, a prolific New York-based painter, in this new exhibition. The exhibition focuses on the artist's
intimate relationship with nature, a theme present throughout Goldberg's decades-long career. It features his most recent paintings completed within his Brooklyn studio. The works in the exhibit have a common feature: his ever-present dots over light
washes of color creating multiple layers within each composition. Goldberg's signature marks not only structure the space, but also are a record of his concentrated attention, time and devotion. His work ethic is apparent in the extraordinary details
of layered textures he achieves. This, in addition to their intricacy and layers of meaning, makes Goldberg's work appeal to many. Looking at a signature work such as Plume (2016), one finds elements such as a mandala, flower form and leaves,
all delineated using dots and stencils that even reference Australian aboriginal painting.
Well-versed in European and American art from his studies at the New York Studio School and Queens College, Glenn Goldberg also draws inspiration from African and Asian art, textiles and decorative art. His works are in the collections of the Brooklyn
Museum of Art, New York; the Metropolitan Museum of Art, New York; the High Museum of Art, Atlanta; the Museum of Contemporary Art, Los Angeles; and the Nelson-Atkins Museum of Art, Kansas City, MO.
An exciting addition to the exhibition is a new relief print, featuring one of his signature birds, recently completed in 2016. This represented the first time Goldberg gave his time and experience to GW students who are engaged in learning printmaking.
Meeting with students as a mentor in a collaborative print project at the Corcoran School of the Arts and Design resulted in a completed print in a small edition. This vibrantly colored print is typical of Goldberg's
imagery displaying "small families with shared interests and foci."
The original exhibition was organized by FreedmanArt, New York, and this adaptation travels to the Reading Public Museum in Reading, Pennsylvania, after its run at the
Luther W. Brady Art Gallery. Goldberg's recent solo exhibitions include shows at the Jason McCoy Gallery in New York; the Betty Cunningham Gallery in New York; and the Charlie James Gallery in Los Angeles.
Along the Eastern Road: Hiroshige's Fifty-Three Stations of the Tokaido
August 24 - December 2, 2016
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.
The exhibition features all the prints in Hiroshige's seminal "Fifty-Three Stations of the Tokaido Road" series. The series was published in 1834 and established Hiroshige's reputation as the foremost artist of the topographical landscape.
In this collection of woodblock prints, Hiroshige, who is influential to artists in Japan and in the West, documented his pilgrimage along the "Eastern Road" that linked Edo (now Tokyo) with Kyoto-the ancient imperial capital of Japan.
Utagawa Hiroshige (1797-1858) was a Japanese artist who lived during the country's Edo period, which lasted from 1603 to 1868. In 1832, Hiroshige journeyed along the historic Tokaido Road, visiting the 53 towns and villages that dotted the road.
Noblemen, merchants, religious pilgrims and tourists, and processions of powerful Japanese feudal lords and advisors, traveled the route frequently. Hiroshige stayed at overnight stations and recorded numerous views of the surrounding landscape,
towns and people. He was trained in the tradition of the "ukiyo-e"-or "floating world"-woodblock printmaking and became one of the most popular artists of the tradition of all time. Also shown is the vertical edition of Hakone, the 10th station,
and an actual woodblock attributed to Hokusai.
"Along the Eastern Road" is a traveling exhibition making its D.C. debut at the Luther W. Brady Art Gallery. The Reading Public Museum, Pennsylvania, organized the exhibition; the Frances K. and
Leonard W. Burka Fund for the Arts and the Friends of the Brady Gallery provided partial funding for the exhibition.
Light and Rhythm: Small Works by Tazuko Ichikawa
September 19 - December 2, 2016
Using natural materials, namely wood, wax, and rope, Tazuko Ichikawa's sculptures strive to express balance, harmony, and the inner rhythm of her work.
Building Knowledge: Traditional African Art from the GW Permanent Collection
MPA Building, 1st floor cases
Through July 15, 2016
Image: Tree of Life, Makonde people, ebony root wood, h: 39".
This exhibition highlights examples of traditional African art from the GW Permanent Collection, the majority of which was assembled from the gifts of just a handful of donors in the 1970s, with little information accompanying them. Since
that time, the study of African art and culture has progressed a great deal with new interpretations, and students and scholars have contributed to the information on the collection's pieces extensively.
The discovery of a large Makonde "Tree of Life" sculpture found in collection prompted us to highlight other African pieces from the collection and conduct more research to build on the information we have. You can follow along with us
during the research process on Twitter @BradyGallery with #MakondeToL and on our blog Found In Collection.
Toyokuni ga: Japanese Woodblock Prints by Utagawa Kunisada
MPA Building, 2nd floor cases
Through August 1, 2016
Image: Utagawa Kunisada, An Elegant Swordsman at Suma, 1853 [detail], woodblock print,
20-1/2" x 15-1/4". Gift of Dr. Stuart A. Umpleby, 2002.
The George Washington University Permanent Collection, P.03.8.6.
Utagawa Kunisada (1786-1865) was one of the most popular print designers of his time. Despite his prolific production, success and enduring popularity in Japan, Western scholars have largely forgotten the name Kunisada in favor of his more famous
contemporaries. This selection of prints, gifted in 2002 by Professor Emeritus Stuart A. Umpleby to the GW Permanent Collection, represents a range of Kunisada's work, from actor prints to scenes from The Tale of Genji to the art of flower arranging
(ikebana), all dating to the 1840s and 1850s. Examples of some objects pictured in the prints, such as sake cups and kaishi or pocket papers are also presented alongside the prints.
To view past exhibitions please view our Exhibition Archive