May 14 - July 3, 2008

Fernando Botero's painting, The Young Bishop is GW's newest acquisition and a formidable addition to the University's holdings of contemporary art. It is featured in the current exhibition at the Luther W. Brady Art Gallery. "Hail to the Buff and Blue" is the GW fight song. The song plays on the carillon chimes over campus every day and the crowds roar it out at sporting events. But how did the University choose those colors? Buff and blue were the colors of General Washington's uniform and in reverence to the country's first President, on February 22, 1905, the GW trustees declared them to be the official colors of the University. Color has meaning beyond its representational value in art and in life. It has the ability to remind us of our past experiences, move us emotionally, and possibly even bring us to a higher spiritual understanding. The works in this exhibition are all different shades of buff and blue and were chosen to demonstrate the breadth of the University's permanent collection and how prevalent buff and blue are found in art of all eras, media, and cultures.

Bringing Buddhism to America
MPA Building, 2nd Floor Cases

April 14 - May 30, 2008

This exhibition is co-sponsored by the Luther W. Brady Art Gallery and the GW Department of Religion. It features Buddhist religious objects in daily use in religious practice in monasteries in Tibet and in the United States, particularly from the Sakya Order of Tibetan Buddhism. The exhibition was researched and assembled by Professor Reverend Ane Kunga Chodron and undergraduate students currently enrolled in the course Tibetan Buddhism offered in the George Washington University Religion Department spring semester 2008, in order to enhance students' hands-on experience of Tibetan religious culture and its manifestation in daily life. Lenore Miller, Director, University Art Galleries and Chief Curator, provided consultation on the project.

April 2 - May 2, 2008

The Annual Awards Show features works by undergraduate and graduate fine arts students from The George Washington University's Department of Fine Arts and Art History. All works on display are eligible for various awards to be granted by this year's judge, Victoria Reis, Executive Director of Transformer. Co-sponsored by the University Art Galleries and the Department of Fine Arts and Art History.

Where There's a Will, There's a Way
MPA Building, 2nd Floor Cases

November 12, 2007 - March 31, 2008

In anticipation of the inauguration of The George Washington University's 16th president, Steven Knapp, we are mounting the Monro-Lenox (or Munro-Lenox) portrait of George Washington by Gilbert Stuart and pages from the Will of George Washington lent by the Fairfax County Circuit Court in the Luther W. Brady Art Gallery.

We are taking the opportunity to display four prints, from the Bi-centennial Pageant of George Washington, produced in 1932. The first print from the series that entered the GW Permanent Collection was The Surveyor's Assistant by Robert Nisbet. Early in his life, Washington traveled around Virginia surveying tracts of land for private individuals and the government. The Nisbet print likely depicts Washington in 1748, when he joined an expedition surveying parts of Western Virginia for the powerful Fairfax family. The next year the Fairfaxes helped him secure a position as a county surveyor. His first career as a surveyor and eventual occupation as a farmer tie Washington to the land and nature.

Last year we were introduced to Professor Richard Tollo of The Department of Geology and discovered their large collection of mineral specimens. Due to the quality of the mineral examples we could obtain and the ties to nature we discovered with George Washington, the man, we have chosen six works of abstract art from the University's Collection and placed them side by side with the mineral specimens to show the real association that can be made between the two.

January 16 - March 14, 2008

The Luther W. Brady Art Gallery will host the first-ever touring exhibition of the Demuth Museum collection, Out of the Chateau: Works from the Demuth Museum. The Demuth Museum collection comprises more than 30 works that span the career of modernist artist Charles Demuth (1883-1935), from early childhood drawings to late floral works. Many of the works on view show the beginnings of the American precisionist style that would bring Demuth fame as a modernist. Before joining the Demuth Museum's permanent collection, the works were long held in private hands in Lancaster, Pa., and were seldom or never publicly exhibited. While individual works have been previously lent to exhibitions at other institutions, the collection as a whole has never been seen outside of Lancaster.

Charles Demuth, Self-Portrait,1907, oil on canvas, 26 1/16 x 18 inches,
The Demuth Museum, Lancaster, PA. Photograph: John Herr.

Out of the Chateau Press:
"George Washington University / Brady Gallery", The InTowner, February 2008
"Charles Demuth @ GWU's Brady Gallery", dcist, 28 January 2008
"Brady Gallery hosts Demuth works", The GW Hatchet, 22 January 2008
"Watercolorist an eclectic master", The Washington Times, 19 January 2008
"Museum Review: Must-See Exhibits On and Off Campus", The Daily Colonial, 17 February 2008

October 18 - December 14, 2007

A university is in a constant state of change. Students, professors, and visitors constantly cycle through the campus. Mirroring this rotation are the works of art around campus that are placed on view, taken down, and catalogued by the Luther W. Brady Art Gallery. The first step in this cycle is acquisition, when the University accepts or purchases a new work of art. Building on its growing collection of prints, photographs, and drawings, the Luther W. Brady Art Gallery exhibits some of their recent acquisitions to the GW Permanent Collection of more than 3,600 objects, including screenprints by Jules Olitski, two monoprints by Hannelore Baron, and photographs by Carl Chiarenza. Also, experimental new works based on her impressions of the Japanese painter, Sesshu (1420-1506) will be exhibited by artist, Keiko Hara. Hara currently is exhibiting other new works at the American University Museum at the Katzen Art Center.

In addition to the exhibition, the gallery will be exhibiting the Monro-Lenox Portrait of George Washington by Gilbert Stuart and two pages from the will of George Washington on loan from Fairfax County Circuit Court in anticipation of the inauguration of GW's 16th president, Steven Knapp.

May 9 - July 13, 2007 DATES EXTENDED: September 4 - October 5, 2007

The Luther W. Brady Art Gallery is participating in the city-wide event, ColorField.Remix. The George Washington University was part of a network of institutions and private collectors that supported and perpetuated the artists and works of the Washington Color School. Drawing from its history of both exhibiting and collecting the works of artists such as Gene Davis, Thomas Downing, Howard Mehring, Alma Thomas, and Willem DeLooper, the Luther W. Brady Art Gallery will build on the 1984 exhibition Generations of the Washington Color School, held at the Dimock Gallery, by adding significant new acquisitions and loans of never before seen works by New York artist, Rosette Bakish, who studied with Robert Motherwell; local artist, Amy Lin; and a pivotal work new addition to the GW Permanent Collection by DeLooper.

March 28 - April 27, 2007

October 20th - December 23, 2006

Back: John Jordan, Bowl with a Bullet, red leaf maple.
Front: Michael Hosaluk, Untitled, split bowl painted in acrylics: black, wine, yellow.

February 7 - March 9, 2007

View the Exhibition online

November 8, 2006 - January 26, 2007

Photograph of Franz Bader by Robert Lautman

October 4 - 27, 2006

Linda Tish Goldstein, Warming George, 2004, watercolor

May 10, 2006 - July 14, 2006

April 12 - 28, 2006

Yeonhee Ji, Anticipation, Stoneware, 26-1/2" x 15-1/2" x 10"

February 8, 2006 - March 31, 2006

Sam Gilliam, After "Smoke", 1985, screenprint, 32" x 40"

November 16, 2005 through January 2006

Celebrating the 400th anniversary of the publication of the iconic work Don Quijote de la Mancha, the Luther W. Brady Art Gallery is pleased to present a collection of publications and artworks based on Miguel de Cervantes' memorable character. By combining books, sculpture, paintings, and drawings, the exhibit covers the many facets of Don Quijote that have emerged from 1605 until present day. We are honored to acknowledge co-sponsorship of the event by the Spanish Mission to the OAS (Mision Observadora Permanente de Espana ante la OEA) and we are grateful to the Embassy of Spain, Washington, Cultural Office for their cooperation on this exhibition. We are indebted to Professors Ellen Echeverria and Ines Azar from the Department of Romance, German, and Slavic Languages and Literatures. Located in the 2nd floor cases of the Media and Public Affairs Building, 805 21st Street, the exhibit will be on view through the rest of the semester.

View the Exhibition online!!

November 2, 2005 - December 16, 2005

Yousuf Karsh, Albert Einstein, 1948, printed later
On loan from Stephen Joel Trachtenberg & Francine Zorn Trachtenberg

Merging the arts and sciences in an innovative and collaborative approach, GW has sponsored exhibitions and events throughout the year celebrating the 100th anniversary of the publication of three of Albert Einstein's most important papers. These papers showed how to demonstrate the atomistic property of matter, launched the quantum theory of light and matter, and gave us a revolutionary new picture of space and time.

The Luther W. Brady Art Gallery will feature 14 photographs of Albert Einstein on loan from the photography collection of President Stephen Joel Trachtenberg and Mrs. Francine Zorn Trachtenberg. Among photographers represented in the collection are Yousuf Karsh, Lotte Jacobi, Lucien Aigner, and Alfred Eisenstaedt. Einstein's never before publicly exhibited furniture (3 pieces), on loan from the Historical Society of Princeton, will also be on display. Mrs. Trachtenberg will be providing a narrative for the photographs on display at the opening reception on Wednesday, November 2. William Parke, GW professor of physics, (GW Department of Physics) assists the gallery by creating graphics that express Einstein's scientific and humanistic contributions.

The Luther W. Brady Art Gallery, which opened in March 2001, is the professional showcase for art at GW. Luther W. Brady (B.A. '46, M.D. '48), the gallery's namesake and benefactor, is a world-renowned oncologist who earned his undergraduate and graduate degrees at GW. He also received the honorary degree of Doctor of Fine Arts from GW in May 2004 and has served as a member of the University's Board of Trustees.

John Walker: Works on Paper 1990-2004

September 6, 2005 - October 28, 2005

John Walker, Box Canyon I, 2004
Etching and Carborundum Aquatint on paper
Published by Riverhouse Editions

EXPRESSIONIST LANDSCAPES OF JOHN WALKER ON DISPLAY AT GW's LUTHER W. BRADY ART GALLERY, SEPT. 6-OCT. 28

Walker's works on paper convey the same powerful gestural brush strokes, dense colors, and brooding sensibility of his monumental paintings. The sheer size and painterly effects characterize his prints as transcending traditional graphic techniques to suggest the powerful forces of natural elements - waterfalls, rocks, and tidal estuaries. Much of the imagery in Walker's recent work comes from his contact with the Maine coast where he lives in the summer months. An avid angler, Walker also has been drawn to the Rocky Mountains, where he has worked over the past decade with Riverhouse Editions in Steamboat Springs, Colo. In the illustrated brochure that accompanies the exhibition, Ruth Fine, curator of Special Projects in Modern Art at the National Gallery of Art, discusses the complex printing processes that Walker employs to masterful effect in monumental prints. The exhibition was organized by Susan Danly, curator of Graphics, Photography, and Contemporary Art at The Portland Museum of Art.

Head of the Graduate School for Painting at Boston University since 1993, Walker frequently encourages his students to paint outdoors alongside him near his home on a tree-lined, rocky cove of the Johns River in Walpole, Maine. The small oil sketches in this exhibition originate in his practice of painting directly outdoors. A sense of light-filled immediacy and visceral contact with the mudflats that surround him are most evident in these studies. His evocative black-and-white aquatints further capture the luminous glow of moonlight on water.

Born in Birmingham, England, in 1939, Walker has traveled and exhibited widely throughout his distinguished career as an artist and teacher. Walker's works are found in the collections of many notable museums including The British Museum in London; Harvard University's Fogg Art Museum in Cambridge, Mass.; the Hirshhorn Museum and Sculpture Garden and the Phillips Collection in Washington, D.C.; and the Solomon R. Guggenheim Museum, The Metropolitan Museum of Art, and The Museum of Modern Art in New York. His recent paintings have been featured in exhibitions in Maine, including the Center for Maine Contemporary Art in Rockport.

The Luther W. Brady Art Gallery, which opened in March 2001, is the professional showcase for art at GW. Luther W. Brady (B.A. '46, M.D. '48), the gallery's namesake and benefactor, is a world-renowned oncologist who earned his undergraduate and graduate degrees at GW. He also received the honorary degree of Doctor of Fine Arts from GW in May 2004 and has served as a member of the University's Board of Trustees.

Support for the exhibition has been provided by various sources, including Barry A. Berkus and family, Knoedler & Company, New York, and funds derived from The George Washington University and the Friends of the Luther W. Brady Art Gallery.

May 12, 2005 - June 3, 2005

Abigail Rorer, The Print Collector's Club, 1984
Hand-colored etching, 53/75
Reproduced with permission of the artist

18th Biennial Exhibition of Prints from Collections of Members of the Washington Print Club

Every two years The Washington Print Club, in association with an area museum or gallery, mounts an exhibition of prints from members' collections. Past venues have included the National Museum of American Art, The National Gallery, The National Museum of Women in the Arts, and the National Building Museum.

This year's biennial exhibition, the 18th from the collections of members of the Washington Print Club, presents small works of art on paper that are visually arresting and technically adept at evoking a universal theme within a small format. The approximately 60 prints on display will include works by old masters and contemporary artists. The exhibition features prints by John Sloan, Rockwell Kent, and James Abbott McNeill Whistler, along with prints by lesser known artists such as Hans Sebald Beham, Clinton Adams, and Elizabeth Catlett. Often the joy of collecting prints is in the "hunt." There is a pristine Whistler print in the show that had an unusual provenanceŠit was discovered at a flea market amidst a box of frames.

All of these works are drawings or original prints that the artist was involved in making, as opposed to photographic and mechanical reproductions. While most of the works in the show are by major American and European artists, a few of the gems are by artists who resided in Washington, such as Prentiss Taylor, Jacob Kainen, Lou Stovall, and Charles Ritchie.

For more information visit the Washington Print Club website.

April 7, 2005 - April 29, 2005

A ballerina's toe shoes are envisioned tapping inside an impossibly small box, Lego blocks are assembled to create an image of the dollar bill, and Barbie doll parts are arranged inside a red tableaux. These are among the 30 works by emerging student artists featured in the Annual Awards Show at GW's Luther W. Brady Art Gallery. The exhibition juxtaposes traditional pieces alongside more innovative works. For example, there are a number of technically precise, realistic drawings including a riveting life-like self portrait by Christopher Locke, along with abstract paintings, evidenced by the swirls of color on Valentine Wolly's large diptych and the hints of brilliant color through the stark black background on Nicholas Moses' works. The featured photographs also demonstrate different styles through an exploration of the technical possibilities of photography. Pamela Nabholz's images are painterly and ethereal, while the focus and resolution in Diana Rodrigues' photographs make the subjects appear three-dimensional. The show also features a number of works incorporating new media, including flash animation and a video installation.

Awards have been given for work in aquarelle painting, ceramics, design, drawing, painting, photography, and sculpture. David Furchgott, president and CEO of International Arts and Artists, served as this year's judge and selected the works for inclusion in the exhibition.

Enlightened Thinking, Lasting Appeal
Selections from The George Washington University Permanent Collection

February 3, 2005 - March 11, 2005

Henry Bacon, The Boston Boys and General Gage, 1775
1875, oil on canvas, 59-3/8" x 94-9/16" GW Permanent Collection
Photograph: Mark Gulezian

The Age of Enlightenment represents a critical time in American history when the country was established and the culture was formed. During the century that followed, the early days of our nation were glorified and romanticized. This exhibition examines the ways eighteenth-century themes, imagery and styles appeared in nineteenth-century art, fashions and decorative arts and how these interpretations continue to shape our understanding of the past. The works in the exhibition include pieces on loan from the DAR Museum as well as works from The George Washington University Permanent Collection.

The exhibition is organized around three primary themes. First is the continued popularity of eighteenth-century styles and fashions into the next century. The second theme is the commemoration of significant dates such as 1776 and George Washington's birth in 1732 as well as the use of naming to honor famous figures. The final theme is the development of myths surrounding prominent figures, most notably Washington. In each of these sections it becomes clear how Victorian-era Americans crafted a vision of their Revolutionary-era forbearers as embodying such virtues as honesty and liberty.

During the eighteenth century, France and the United States developed strong ties, Not only did France set fashions for the world to follow, they provided essential military, financial and diplomatic support to the new nation. Paris on the Potomac is a citywide celebration that honors the longstanding cultural ties between two world capitals: Washington, DC and Paris. From Valentine's Day through Memorial Day 2005, more than 80 French-themed exhibits, performances, walking tours, lavish restaurant experiences and romantic hotel packages highlight Paris's influence on Washington, DC's arts, culture and culinary scene. Paris on the Potomac is produced by The American Experience Foundation in partnership with the Washington, DC Convention & Tourism Corporation and Cultural Tourism DC. ParisOnThePotomac.org

The George Washington University Community Collects

October 13, 2004 - December 10, 2004

Normally private collectors' works can only be seen by their friends and family. However, the upcoming exhibition at GW's Luther W. Brady Art Gallery will enable the public to glimpse the diversity of the collections from some of the gallery's patrons and members of the GW community. The continued operation of the Luther W. Brady Art Gallery is made possible through the generosity of its patrons, particularly the Friends of the Luther W. Brady Art Gallery. While these donors support public access to art through the efforts of the gallery, they also maintain their own art collections.

Korean Ceramics from the Lawrence M. Rozanski Collection

October 13, 2004 - December 10, 2004

This exhibit showcases Lawrence M. Rozanski's collection of ancient ceramics spanning 1400 years.

Jewish Cooking in America
Selections from the Cookbook Collection of Joan Nathan

September 9, 2004 - October 12, 2004

Just as the United States is said to be a "melting pot" where people of many countries and origins have come together, the Jewish community in America is similarly composed of people from around the world. Jewish cooking in America reflects the diversity and complexity of the community as a whole. The cookbooks in these cases attest to the unique, complex, and significant contribution Jewish cuisine has made to American cooking. To commemorate the 350th anniversary of the arrival of the first Jews in New Amsterdam, the Luther W. Brady Art gallery has worked with Joan Nathan to bring together this display of the history of Jewish cookbooks in America.

For more information on the upcoming conference entitled Are We What We Eat? American Jewish Foodways, 1654-2004 please follow the link: www.gwu.edu/~judaic

Fritz Scholder
Selected works by the celebrated Native American artist

September 7, 2004 - September 24, 2004

Fritz Scholder, Massacred Indian #4

Fritz Scholder (born 1937) is an outstanding Native American painter and colorist. The exhibition of his work at the Luther W. Brady Art Gallery is timed to coincide with the opening festivities for the Smithsonian National Museum of the American Indian in Washington, D.C. Scholder is one-quarter Luiseño Indian, a tribe native to the area now known as San Diego County.

Scholder is best known for his strikingly modern images of Native American subjects, although much of his work deals with other themes. "The reason I am fascinated by so many subjects is not that I am in any way desperate to flit around or taste different things," Scholder said. "It's more an education of my life of finding out and being interested in whatever subject you decide to paint."

Among the pieces included in the exhibit is Massacred Indian #4, circa 1979, which depicts Sitting Bull, in a style that was influenced by Francis Bacon and Wayne Thiebaud. Another piece in the show, Galloping Indian after Remington, on loan from a noted private collection in Philadelphia, also makes references to iconic images of the American West. Several works by Fritz Scholder have previously been on display at the GW art galleries. In February 1975 his work appeared in the exhibit "Ethnic Art - The Living Tradition," and in March 2001, one of his paintings was featured in the exhibit "The Luther W. Brady, M.D. Collection of 20th Century Works on Paper."

May 13, 2004 - June 30, 2004

Oscar Bluemner, Montville (Movement of Space and Form, New Jersey)

Landscapes of everyday modern society - mills, factories, small farms, unkempt suburbs - portrayed in brilliant colors and a variety of media, will fill the Luther W. Brady Art Gallery beginning May 13, 2004 for one of the most comprehensive exhibits of the work of Modernist painter Oscar Bluemner ever presented.

The exibit comes to The George Washington University from Stetson University in DeLand, Florida. The works were selected by the Curator Roberta Smith Favis from the more than 1,000 pieces of Bluemner's work bequeathed to Stetson University in 1997 by his daughter, Vera Bluemner Kouba. The included pieces represent every period of Bluemner's production, ranging from pencil and charcoal studies, annotated by the artist, to major works in watercolor and oil. They were chosen by Favis to demonstrate the depth and breadth of the Vera Bluemner Kouba Collection, as well as of the beauty and quality of the artworks.

Often overlooked in his lifetime, Bluemner now is widely acknowledged as a key player in the creation of American artistic Modernism, with better-known colleagues such as Georgia O'Keeffe and John Marin. Through modern artistic language, his depictions of the industrial hinterlands of New Jersey and Massachusetts combine political and social sympathy for the workers who toiled there with the most modern artistic language. The characteristic touches of glowing red in his paintings and his interest in color theory earned him the nickname "The Vermillionaire."

April 8, 2004 - April 30, 2004

Approximately 40 works by emerging student artists are featured in the Annual Awards Show at GW's Luther W. Brady Art Gallery. The exhibition juxtaposes traditional pieces alongside more innovative works. For example, the paintings display a range of styles from the colorful dabs of paint in Anne Letterer's Bench People, to the sweeping application of oil stick and collage on paper in Valentine Wolly's Memories. The featured photographs also demonstrate different styles through an exploration of the technical possibilities of photography. Pamela Nabholz's images are painterly and ethereal, while Danielle DiRosario¹s photographs of the human body border on abstraction. Particularly remarkable is the variety of ceramics in the exhibition. The works in clay are sculptural and engaging. Shelley Stevens' work, for example, plays off the relationship between found pieces of wood and complementary ceramics.

Awards have been given for work in aquarelle painting, ceramics, drawing, painting, photography, printmaking and sculpture. This year's judge is George Hemphill, owner of Hemphill Fine Arts, who also selected the works for inclusion in the exhibition.

January 29, 2004 - March 5, 2004

Maurice Bismouth, Man At Prayer; Pierre Boucherle, Interior of Synagogue; Jellal Ben Abdallah, Woman with Doves

This exhibit brings to Washington nineteen works of art on loan from the Ministry of Culture, Youth and Leisure of the Republic of Tunisia. This is a unique opportunity to see famous Tunisian artists in an unprecedented exhibition representing the masterful works of Jellal Ben Abdallah, Ali Bellagha, Maurice Bismouth, Pierre Boucherle, Brahim Dhahak, Abdelaziz Gorgi, Jules Lellouche, Victor Sarfati, and Gouider Triki.

A celebration of Tunisia's traditions of tolerance and openness as depicted through a century of Tunisian art, the exhibition introduces Washington area audiences to the "Pioneers" and the next generation of painters, L'Ecole de Tunis (School of Tunis), who were born in the 1920s and 1930s and worked together under the established trends in Tunisian painting. They paved the way over the past century for the emergence of new waves of artists. On the occasion of his visit to Washington, DC, the Minister of Culture, Youth and Leisure of the Republic of Tunisia, Dr. Abdelbaki Hermassi attended the opening ceremony of this exhibition where he was introduced by President Stephen Joel Trachtenberg, president of The George Washington University in the company of Ambassador and Mrs. Hatem Atallah. The Minister remarked on the camaraderie shared by artists of different cultural backgrounds in Tunisia, and how the paintings illustrate that shared yet diverse heritage.

Tunisia, a country of about 10 million people, located in the heart of the Mediterranean, at a crossroads with Africa, Europe and the Middle East, has always been, despite its limited natural resources, the land of original encounters. Tunisia's witnessing, over the centuries, the Carthaginian, the Roman and the Arab-Islamic conquests, together with its absorption of the three monotheistic religions bear testimony to its receptive capacity, and paved the way for its creatively inclusive modernist painting. Through the appreciation of the visual arts, we broaden our understanding of Tunisia's diversity of cultural perspectives such as folkways, decorative arts, spirituality, topography and history.

November 20, 2003 - January 16, 2004

Sally Gall, Evidence of Wind

In planning for about three years, the exhibition "Arresting Images" has been curated by a professional philosopher (Peter Caws, University Professor of Philosophy) working hand in hand with a professional photographer (Nancy Breslin, M.D., M.F.A.). Pivotal to the experience of viewing art in a gallery is being stopped, "arrested" by the power of the image. The photographs assembled in this exhibit share this ability to hold the viewer.

In addition to a sampling of photographs selected from the nearly 1000 in the George Washington University Permanent Collection, the curators have also drawn from the collection of the University Gallery Teaching Collection of the University of Delaware and from private collections. Photographers represented include Louis Faurer, Sally Gall, Philippe Halsman, Paul Strand, N. Jay Jaffee, Nancy Breslin, and others.

In the illustrated catalogue written by Peter Caws which accompanies the exhibition, he writes, "Works of art that seem intended to contain meaning tend to be less interesting than those that are occasions of meaning, whatever anyone's intention; the dialogues that the latter provoke are not mainly between author and reader, between photographer and viewer, but between readers, between viewers." By combining approaches to the disciplines of philosophy and photography, the curators have brought up many provocative and unorthodox approaches to art appreciation, which stimulate discussion and encourage visitor interaction with the exhibition.

October 18 - November 14, 2003

Using materials that felt familiar from use - scraps of fabric, wood, string, wire, pieces from children's games, printed labels and other discarded items - artist and Holocaust survivor Hannelore Baron (1926-1987) constructed intimately scaled works that offer glimpses into history, the human condition and the artist's past.

Approximately 40 collages and five box assemblages are presented along with quotes from Baron regarding her artistic inspirations and creative processes. "Hannelore Baron: Works from 1969 to 1987" is organized by the Smithsonian Institution Traveling Exhibition Service (SITES) in cooperation with the Estate of Hannelore Baron and the Manny Silverman Gallery in Los Angeles. The exhibition is curated by art historian Ingrid Schaffner. Additional information about this exhibit can be found at the SITES website.