2000-2001Return to Current Exhibitions
Woody Gwyn: American Landscapes
May 13-June 25, 2010
Woody Gwyn, Vega, 2007-08, oil on canvas, 12" x 36".
Courtesy of David Findlay Jr. Fine Art, New York City.
Woody Gwyn: American Landscapes will feature paintings of landscapes in California, New Mexico and in Virginia alongside remarkable drawings and watercolors from Hawaii and the West.
Bound together, these plein air studies are a veritable history of his sketches from 1995-2005.
From the perspective of his studio in Galisteo, N.M., Mr. Gwyn paints landscapes that evoke the vast horizontality of the American West, its highways and its skies, as well as the green valleys
of Virginia's Piedmont. Mr. Gwyn's textural paintings are studies in relativity and scale, as well as being recognizable representations of the landscape, making him comparable to other
contemporary painters outside the genre of landscape.
The exhibition's timing brings a little bit of New Mexico to Washington during the 400th Anniversary of Santa Fe. Woody Gwyn will receive the Governor's Award for Excellence in the Arts on
September 24, 2010.
More Photographs Than Bricks
March 24-April 30, 2010
Chuck Close, Kara, 2008, Pigment Print on Fiva Innova gloss paper,
Chine-colléd to Somerset Satin paper, 16/20, 38-3/4" x 29-1/4".
Courtesy of Adamson Gallery.
Is photography the new painting? This is the question posed in More Photographs Than Bricks, an exhibition organized by the Luther W. Brady Art Gallery. In the catalogue essay,
"Beneath Every Picture: Photography in the Twenty-First Century," Virginia K. Adams, Ph.D. writes: "The complexities of photography's interaction with painting have grown as the barrier
between the mediums has evaporated in the postmodern period." In this exhibition it is demonstrated how photography interacts with elements of painting while contemporizing the "noblest
subjects" of art. Including work by 15 artists known nationally and internationally, the works are roughly divided into five thematic sections: Appropriation and the "Historicized Portrait,"
"New Horizons" of the Panoramic Landscape, Utopia and Utopias Lost, Landscape and Still Life, and The Collector (of Images).
Sean Scully moves comfortably between painting and photography, finding that details of his "Wall of Light" paintings achieve monumentality as a photographic suite Four Towers, 2004.
Ana Labastida, a Mexican artist living in Berkeley, CA, studied art at the National Autonomous University of Mexico City. She is represented here by an intriguing mixed media installation of
fantastical large moths with transparencies on recycled glass. She said she continues to find inspiration in the crazy, over stimulating tangle that is Mexico City, as well as the tranquil,
tree-lined streets of Berkeley between which she frequently travels.
This is the second of three exhibitions supported by Clarice Smith with a focus on creating a dialogue by bringing the highest quality art for display in the Luther W. Brady Art Gallery.
The photographers chosen include emerging and world famous artists: Nancy Breslin, Edward Burtynsky, Chuck Close, Kim Keever, Ana Labastida, Amy Lamb, Bruce McKaig, Megan Marrin, Abelardo Morell,
Yasumasa Morimura, Martin d'Orgeval, Sean Scully, Jeffrey Smith, and JeongMee Yoon.
Warhol: Photographs Selected from the GW Permanent Collection
February 3 - March 12, 2010
Andy Warhol, Tara Koulukundis Tyson, n.d, black and white print.
Gift of the Andy Warhol Foundation, 2008.
Drawing from a gift of 152 Polaroid and black and white photographs by Andy Warhol to the GW Permanent Collection, the Luther W. Brady Art Gallery will showcase a number of works
by the legendary painter, photographer, printmaker, filmmaker and personality. The works, which include portraits of celebrities such as Edward Kennedy, Tara Tyson, Mary Martin and
Truman Capote as well as intimate photographs of Andy Warhol's friends, will be complemented by other photographs and works in the GW Permanent Collection. The exhibit will also include
diary entries by Andy Warhol to illustrate the artist's involvement in the New York art and social scenes. The gift of Andy Warhol's photographs, along with the establishment of the
Francine Zorn Trachtenberg Photography Fund, have significantly strengthened the photographic collection and programs of the GW Permanent Collection.
GW's Luther W. Brady Art Gallery was chosen by the Andy Warhol Foundation for the Visual Arts as one of the institutions that would receive a large gift of approximately 150 original
Polaroid photographs and gelatin silver prints by Andy Warhol. The gift, made through the Andy Warhol Photographic Legacy Program in honor of the foundation's 20th anniversary, consists
of 28,543 original Warhol photographs valued in excess of $28 million that will be divided between 183 college and university art museums. According to Joel Wachs, president of the
Andy Warhol Foundation for the Visual Arts, the aim of the Photographic Legacy Program is to provide greater access to Andy Warhol's artwork and process, and to enable a wide range
of people from communities across the country to view and study this important yet relatively unknown body of Andy Warhol's work. The program offers institutions the opportunity to bring
a significant number of photographs into their permanent collections, while allowing those schools that do have Andy Warhol in their collections to enrich the breadth and depth of their
Clothing the Rebellious Soul: Revolution 1963-1973
November 5, 2009 - January 22, 2010
Flag Jacket made by the Santa Fe Leather Company, ca. late 60s/early 70s, courtesy of Mark Hooper. Image: Ryder Haske.
Never-before-published vintage hippie clothing and artifacts are imaginatively displayed along with a narrative that outlines the decade 1963-1973 with an emphasis on portraying
the political and social upheaval of the times. Frank Van Riper was in Chicago during the riotous 1968 Democratic National Convention and covered virtually all of the racial and antiwar
turmoil that occurred in major U.S. cities during that period. From his perspective, it was the first time in history that large and important cohorts of the population found their
voice, most specifically young people, women and minorities.
From the Woodstock Music Festival in Bethel, N.Y. to the Haight Ashbury, North Beach and Golden Gate Park neighborhoods of San Francisco, young people celebrated with music and personal
expression, hoping for an ideal world of peace and love. These places were ideal venues for people to express themselves through their clothing. Whether handmade or bought at a thrift
store, these clothes incorporated Indian, Asian, African, Mexican and Native American talismans. Denim jeans became the canvas for the rebellious soul. Clothing of the 1960s was bright,
colorful, unisex and personalized to express an inner angst or euphoric joy-sometimes on the same garment. Exuberant garments as a fringed leather "flag" jacket, painted jeans, vintage
love beads and tee shirts with peace signs, along with representative groupings of peace and protest pins will be displayed on mannequins. Rare historical ephemera from private collectors
Gwen and Mark Hooper include an Earth Day flag for the first Earth Day demonstration, Black Panther Party newspapers, handbills, Milton Glaser's Bob Dylan poster and Sister Mary Corita
Kent's Love Justice silkscreen. A "Bring the Boys Back Home" World War II helmet by a member of the Vietnam Veterans Against the War was worn at the first Moratorium March in
Washington, D.C., and is one of several uniquely painted helmets which will be on display. From San Francisco, a city of dreams, to the political staging of reality in Washington, D.C.,
this timely exhibition melds personal adornment with media awareness of the times.
The show is curated by Nancy Gewirz in collaboration with Mark E. Hooper of Princeton, N.J. The essay that introduces the exhibition's catalogue was written by Mrs. Gewirz and
photographer and journalist Frank Van Riper. Mrs. Gewirz has a bachelor of fine arts degree in painting from American University and a master of fine arts degree in sculpture from
The George Washington University. The clothing and events of the 1950s and 1960s have always been a great interest of hers. Mr. Hooper graduated from the University of New Mexico
with a bachelor of arts degree in archeology and art history. Mr. Van Riper covered the turbulent 1960s and 1970s as a Washington reporter for the New York Daily News. He co-authored
Serenissima: Venice in Winter with Judith Goodman. Mr. Van Riper was a 1979 Nieman fellow at Harvard University.
Nancy Graves: Inspired Vision - Sculpture, Paintings, Drawings
September 9 - October 23, 2009
Nancy Graves, Imaginary Time, 1988, gold leaf, gouache, acrylic, and watercolor on paper, 45-1/4" x 45".
Lent by the Nancy Graves Foundation, New York/ Courtesy Ameringer/ McEnery/ Yohe Fine Art, New York.
The internationally recognized artist Nancy Graves (1939-1995) is mainly known for her sculpture but also produced paintings and drawings that parallel her three-dimensional work.
The Luther W. Brady Art Gallery will exhibit works in all three media. The works, borrowed from the Nancy Graves Foundation of New York and the collection of Luther W. Brady, M.D., span
three decades and show the artist's use of a variety of organic and man-made sources. Each sculpture is a complex assemblage of pieces that could be found in nature joined to the art
historical remnants of previous civilizations. The largest sculpture, Herself Most Drawn, combines a large sunflower with other natural forms while a scaley texture creeps up
toward a fragment of a colorful capital. This rather weighty and bold work is balanced by a delicate suite of 12 drawings on graph paper depicting snakes, Native American costume and
cave paintings. Many of Graves' subjects were likely drawn from her interest in and study of anthropology. She is a graduate of Vassar College and received an M.F.A. from Yale School
of Art. The exhibition is accompanied by a catalogue featuring an essay by Zina Davis and produced by the Joseloff Gallery, Hartford Art School, University of Hartford for their
exhibition, Nancy Graves: Inspired Vision, from which our exhibition was derived.