2000-2001Return to Current Exhibitions
Annual Awards Show
April 18 - May 3, 2002
This exhibition showcases works by undergraduate and graduate fine
arts students in GW's department of Fine Arts and Art History. The
exhibition highlights programs of the department and includes a wide
range of media, such as, ceramics, design, drawing, painting, photography,
printmaking, sculpture and visual communications. All works on display
are eligible for various awards to be granted by a panel of art professionals.
March 25 - April 5, 2002
"Epic Paintings" is the inaugural exhibition for the newly named,
Luther W. Brady Art Gallery at the George Washington University. The
term "epic" is often used to describe art that is "unusually great
in size and extent, and heroic." "Epoch" expresses a sense of time,
such as the span of an era. The artist is both a healing force in
transforming society, and a mirror of his/her times. "Epic Paintings"
carries with it a sense of history and tradition, grand style, ambitious,
and larger-than-life narratives of the human condition. The six paintings
in this exhibition can be deciphered as an organic unfolding or layering,
as opposed to the overall gestalt of a color field painting. Collage-like
elements and/or a flowing brushstroke may signify imagination, memory,
history, and nature. The painters chosen for this exhibition are 'icons'
of contemporary art, artists who have established reputations and
GW LogoUnveiling: Something Old Something New, Something Buff,
February 22, 2002
Stephen Joel Trachtenberg, president of The George Washington University,
unveiled GW's new, unified visual identity program. The new logo and
design materials will establish a consistent brand identity that unites
GW's diverse campuses, schools, and programs, while reinforcing the
University's name and reputation. The new identity is based on the
founding father's powerful name and visual recognition.
"We are inaugurating a new branding program that will enable
GW to speak in one visual language while maintaining the important
individuality of the various entities comprising the institution,"
said Trachtenberg. "The visual image recognizes GW's strong traditions,
along with its reputation as a progressive, world-class university."
Don Quijote: The Visible and the Invisible
December 12, 2001 - February 8, 2002
In cooperation with The Cultural Office of the Embassy of Spain, GW's
University Art gallery presents the exhibition, "Don Quijote: The
Visible and the Invisible," showcasing the works on paper of Francisco
Castillo, and featuring sketches and a model of a sculptural project,
"Don Quijote Deconstructed" by Juan Romero de Terreros.
Inspired by Post-Impressionist movement, Castillo considered drafting
to be the foundation of artistic development. Representations and
scenes from Miguel de Cervantes' novel Don Quijote (1605, 1615) became
Castillo's preferred subject matter while he worked in Washington,
D.C. As a whole, the works on paper reveal aspects of the human condition
- the artist has projected his own image onto the well-studied visage
of the famed knight Don Quijote and his sidekick Sancho Panza.
Another poetic interpretation of the theme is envisioned by Juan Romero
de Terreros, a sculptor, painter, and printmaker, who received art
training in Seville and Madrid, Spain. The maquette for "Don Quijote
Deconstructed" is both figural and abstract, in that the form of Don
Quijote is actually negative space, insubstantial, yet shaped by a
unique configuration of planes, changing with the viewer's orientation
to the model in space. Other examples of Terreros' public sculpture
exist on the campus of the University of Salamanca, Spain and in the
sculpture park of the Polytechnic University in Valencia, Spain. This
project is envisioned for The George Washington University campus.
Ocean of Ink, River of Fire
October 10 - November 30, 2001
"Ocean of Ink, River of Fire" speaks to the collective creative
spirit, imbued with a tradition that goes back more than a millennium.
The exhibition hopes to educate the viewer about the heightened relationship
between the painted image and the written word so evident in Asian
art. Stephen Addiss' most recent book, Old Taoist, represents collaboration
with Jonathan Chaves, professor of Chinese and chair of the Department
of East Asian Languages and Literatures at GW.
Ocean of Ink describes the section of the exhibition devoted
to the calligraphy of Stephen Addiss. After studying with Ishikawa
Kako and Chiang Chao-sheng, Stephen Addiss has practiced brush painting
and calligraphy for thirty-five years. The control of the brush necessary
for calligraphy has influenced his paintings, while the freedom of
the paining techniques that he has developed influences his calligraphy.
Both of these two dimensional arts have also gained from his work
in ceramics, where varieties of textures are a feature of his ceramic
vessels. He now serves as professor at art and Tucker-Boatwright Professor
of Humanities at the University of Richmond in Virginia and his published
more than 10 books on Japanese art.
"For many years I have been fascinated by the traditional East
Asian idea of the literati scholar-poet-artist, whose creativity is
deepened by study of the past, time spent in nature, and the enrichment
of other forms of art," said Stephen Addiss.
River of Fire is a group of five ceramists, Randy Edmonson,
Scott Meredith, Cricket Edmonsn, John Jessiman, and Stephen Addiss,
who work in central Virginia. They fire their pots in an anagama
(20-foot long wood-burning tunnel kiln) for four days and nights.
This technique was developed many hundreds of years ago in Korea and
Japan. It allows the firing to play and important role in the finished
product. The path of the flame and the falling of wood ash, while
not totally random, are never completely predictable.
Cover-ing the Campaign
September 12 - 21, 2001
The exhibit showcases the media's portrayal of the candidates and
the events that shaped the closest presidential election in recent
history. The exhibit is organized into four sections: "The General
Election" featuring bother candidates, "George W. Bush," "Albert Gore,"
and "The post-Election Coverage," highlighting the ballot controversy
and general confusion that continued for 36 days after election day.
This exhibit offers the opportunity to revisit the election images
presented by the media, to compare those presented by opinion magazines
versus news magazines, and to observe the effect of an image paired
with a few carefully chosen words which highlights the role of the
illustrator and the graphic designer in this process.