Arthur Hall Smith, Requiem in White, 2002, acrylic on linen, 70" x 43".
Arthur Hall Smith: In Memoriam
March 12-April 4, 2014
Estate of the Artist. Image courtesy Jeffery Stephanic.
The Luther W. Brady Art Gallery presents a memorial exhibition to honor and remember Arthur Hall Smith (1929-2013), artist, educator, humanist, poet and friend to the
university and all who knew him.
"I dearly remember Arthur as an ardent Parisian and a wise collaborator in curatorial work with the Phillips Collection," said Lenore Miller, director of university
art galleries and chief curator.
More than 50 paintings and drawings featured in this exhibition span more than six decades and include some of the most important works of art that he produced. The
painting Requiem in White portrays Smith's recollection of the varying shapes of paper floating through the air, caught in wind gusts, against a smoke-filled sky
on Sept. 11, 2011.
While teaching at the George Washington University, Mr. Smith returned to Paris each summer to paint and many of those works will be on view. He joined GW's Department
of Fine Arts and Art History in 1974 and distinguished himself as a beloved teacher, a respected colleague and a valued member of the academic community. He inspired many
students, including Holly Trostle Brigham, who dedicated her recent exhibition at GW to his memory. He retired in 1997 to live in Paris permanently.
Arthur Hall Smith, A Gathering, 2007, mixed media on paper, 32-1/4" x 34-3/8".
Private collection. Image courtesy Jeffery Stephanic
What Not to Wear: Women Sculptors
April 16-June 27, 2014
Women sculptors faced many obstacles during the 19th century in receiving artistic instruction, entering art academies, and being included in exhibitions
alongside their male peers. There were exceptional women who persevered and were successful like Harriet Hosmer and Malvina Hoffman, but many more women displayed
their artistic prowess through knitting, needlepoint, crochet, quilting, and apparel. Focusing on those contemporary women sculptors who create pieces that use
clothing or its embellishment as the inspiration for their works, translating them into a "masculine" form of artistic expression, sculpture, this exhibition
reverses the paradigm.
Holly Trostle Brigham: Dis/Guise
January 15-February 28, 2014
Holly Trostle Brigham, Freeing the Frieda in Me, 2003, watercolor and collage on paper, 29-1/2" x 29-1/2".
Courtesy of the artist. Image: Kenneth Ek.
For two decades Holly Trostle Brigham has made self-portraits that deny a fixed identity and imaginatively engage the past. She has tirelessly
explored gender and sexuality through self-representation, often using her body to subvert misogynist histories and reclaim the female nude. This
exhibition is organized by the Berman Museum, Ursinus College, Collegeville, PA. Holly Trostle Brigham holds an MFA from GW (1994) and her paintings have
won awards at the Pennsylvania Academy of Fine Arts, the Lancaster Art Association, and for watercolor at the Harrisburg Art Association. Brigham's
work has been exhibited in New York, Washington, D.C., Massachusetts and Pennsylvania.
Douglas Coupland, Hey Boy, Hey Girl, Superstar DJ, 2012, acrylic and latex on canvas, 36" x 36".
DECENTER NY/DC: An Exhibition on the Centenary of the 1913 Armory Show
September 11 - December 20, 2013
Private Collection, Toronto. Image courtesy Daniel Faria Gallery, Toronto.
"On its 100th anniversary, we celebrate the Armory Show by posing the question: What is the legacy of Cubism in the hundred
years since the Armory Show's radical display of modern art, and especially, how has this become relevant today?"
In 1963, Henry Street Settlement sponsored a reconstitution of the Armory Show on its fiftieth anniversary. Even then, just
by re-staging the show, they could not reflect the exhibition's social importance. The Armory Show of 1913 altered our understanding
of the process through which we perceive the world. Decenter* makes a parallel between the digital revolution and the ways it
has affected our perception of the world. Just as Cubism's pioneers drew upon prototypes of archaic Western forms and appropriated
images such as African masks, so does the digital image explosion at times can create a new cohesion of the physical and the virtual.
By presenting Decenter NY/DC at the Luther W. Brady Art Gallery, we are creating a dialogue between Washington D.C. and New York.
While the Armory Show took place in New York, its hundredth anniversary is being celebrated all over the country. This exhibition will
appeal to students and others who have embraced the digital world in artistic practice and social media; the approach will initiate a
highly innovative dialogue and collaboration with New York curators.
Decenter NY/DC: An Exhibition on the Centenary of the 1913 Armory Show was originally shown in the Abrons Arts Center, Henry Street Settlement from February 17-April 7, 2013. Modified to fit the space and
augmented with work by DC area artists, this adaptation is guest curated by Andrianna Campbell and Daniel S. Palmer and will feature work
by Cory Arcangel, James Bridle, Tony Cokes, Douglas Coupland, David Kennedy Cutler, N. Dash, Jessica Eaton, Andrea Geyer, Ethan Greenbaum, Victoria Greising,
Travis Hallenbeck, Corin Hewitt, John Houck, Butt Johnson, Barbara Kasten, Andrew Kuo, Liz Magic Laser, Douglas Melini, Brenna Murphy, John Newman,
Gabriel Orozco, Ellington Robinson, RafaŽl Rozendaal, Lisa Ruyter, Travess Smalley, Sara VanDerBeek, and Letha Wilson.
The web-based portion of the show has grown as artists continue to invite others to contribute
in a process that highlights the diversity and expansiveness of the 1913 show's legacy as it relates to the "decenteredness" of our world today.
* Definition of DECENTER: To cause to lose or shift from an established center or focus; especially: to disconnect from practical or theoretical
assumptions of origin, priority, or essence.
To view past exhibitions please view our Exhibition Archive