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2001-2002

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 histories.

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."

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.

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.

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.