Luminaries: Portraits from the GW Permanent Collection
February 11 - April 24, 2015
Whether icons of literature, politics, or film, some names and faces become etched in our collective minds in a moment that defines them, captured in an unchanging picture. Luminaries presents
a selection of these memorable names and faces, captured by artists in prints, paintings, reliefs, and photographs selected from the GW Permanent Collection. While traditional portrait painting was made by
direct observation and the artist's hand, in the twentieth century many artists discovered other means of capturing their subjects: painting from photographs, creating lively caricatures, or appropriating
source images from history or popular culture for a new spin on the portrait.
The exhibition displays, for the first time, six screen prints by Andy Warhol, recently gifted to the collection by the Warhol Foundation as part of its initiative to place Warhol's work in university
museums and collections and show works previously unseen by the public. Luminaries also includes portraits of celebrities such as Mick Jagger, Audrey Hepburn, Debbie Reynolds, Elizabeth Taylor,
Groucho Marx, and political and cultural figures, such as William Wilson Corcoran, Ulysses S. Grant, Sen. Edward Kennedy and, of course, George Washington. Works from notable Washington-based
artists Aline Fruhauf, Joe White, and Clark V. Fox are also featured.
Art in the Making: A New Adaptation
May 6 - July 17, 2015
Art in the Making: A New Adaption celebrates artwork by teachers and students of three New York City art institutions with their counterparts at The George Washington University's Corcoran School
of the Arts and Design. First presented by the FreedmanArt gallery in New York City, the exhibition was triggered by the coinciding 50th anniversary of the New York Studio
School of Drawing, Painting and Sculpture, 140th anniversary of The Art Students League of New York and 125th anniversary of Pratt Institute. In addition to selected pieces from the New York City exhibition,
the Luther W. Brady Art Gallery will present pieces from artists associated with the Corcoran School.
Art in the Making at the Brady Art Gallery illustrates how the interconnectedness of making art is pertinent to the University's expanded dedication to the arts. The exhibition has pieces that represent
the three New York City institutions, including from Lee Bontecou, Helen Frankenthaler, Charles and Jackson Pollock and Kit White. Art from the GW Permanent Collection representing the Corcoran School includes
works by Gene Davis, Georgia Deal, Andrew Hudson, Jules Olitski, Dennis O'Neil and Berthold Schmutzhart.
Top left: Kit White, "After" Mark Rothko, "Red, Orange, Tan, and Purple," 1954, 2011, graphite on paper, 9" x 11-5/8" (sheet). Top right: Kit White, "After" Frank Stella, "Die Fahne Hoch," 1959, 2011,
graphite on paper, 9" x 11-5/8" (sheet). Bottom: Kit White, "After" Morris Louis, "Alpha-Phi," 1961, 2011, graphite on paper, 9" x 11-5/8" (sheet).
Susan Roth: Form, Frame, Fold
October 22, 2014 - January 30, 2015
Susan Roth, The Great Oz, 2011, acrylic and acrylic skin on canvas, 70" x 43". Courtesy of S&D Studios.
Color is the vessel in which Susan Roth's paintings chart their course. Having access to many hues and types of acrylic pigments (acrylic paint is any paint containing acrylic resin), the artist's
stance is aggressive, groundbreaking, and "tough." John Link cited "Susan Roth's Toughness." "Thus toughness can be an effect of the directness of some beautiful things, a directness that ultimately
supports pleasure and satisfaction not pain. You pass through difficulty in Manet and Pollock on your way to satisfaction when you see their pictures come together as pictures, not as their point when
you "understand" them."
Roth's paintings are exemplary for the use of "High-load" gesso and other unique acrylic paint mediums, developed over a decades-long collaborative relationship with Golden Artist Colors. Her paintings
feature numerous layers of paint, folded canvas, accretions such as glass, acrylic "skins," and painted "boxtops." Her sculptural "steel paintings" encompass another aspect of her work, graduated, non-uniform
application of powder coated pigment. The powder coating process affords texture and color simultaneously that when heated in the kiln, melds with the surface of the steel. Roth's imaginative titles such as
Hall of the Mountain King and Ley Lines inspire personal associations, but not literal interpretations. While not seeking to be descriptive, the interplay of her titles and her work produce a
point of entry into the work for the viewer.
The exhibition will contain 21 works by the artist, both paintings and "steel paintings," sculptures that both hang on the wall and some that are free-standing. Many of the works are new and have never
been exhibited in public before. An illustrated catalogue will accompany the exhibition featuring contributions by Carl Belz, Lenore D. Miller, and Nancy Keefe Rhodes. Surface, shape and time in her work is
conveyed in an interview between the artist and curator Lenore Miller. The basis for the interview was a series of discussions held over a period of time in her home and her studio.
Susan and her husband artist Darryl Hughto reside in Canastota, near Syracuse, New York. Both have been in discourse with many of the foremost painters and sculptors of the twentieth century, including
Anthony Caro, Kenneth Noland, Jules Olitski, and critics Clement Greenberg and Dominique Fourcade.
Henry Moore, Draped Reclining Figure, Knee, c. 1981, bronze, 6" x 8" x 5". Collection of Dr. Luther W. Brady.
Icons of British Sculpture
August 28 - October 10, 2014
The British landscape has informed its artists for centuries, their sculptors taking cues from the craggy beaches and rolling hills. Organized by the Reading Public Museum in Reading, PA
the exhibition includes work by: Kenneth Armitage, Anthony Caro, Lynn Chadwick, Barry Flanagan, Barbara Hepworth, and Henry Moore.
Lynn Chadwick, Bronze Maquette with Winged Figures (two pieces), 1973, bronze with black patina, 10" h. Collection of Dr. Luther W. Brady.
(left to right) Diane Simpson, Box Pleats, 1989, stain and colored pencil on MDF and wool, 46" x 42" x 20". Courtesy of the artist and Corbett vs. Dempsey, Chicago.
What Not to Wear: Women Sculptors
April 16-June 27, 2014
Black Swan, 2011, Belgian black marble, 28" x 15" x 4". Courtesy of the artist.
Joyce Zipperer, Ouch 1998, limestone, 8" x 3-1/2" x 6". Courtesy of the artist.
What Not to Wear: Women Sculptors features the work of ten contemporary women sculptors who create pieces that use clothing or its embellishment as the inspiration for their works,
translating them into a form of artistic expression, sculpture, that was traditionally dominated by men.
Some of the works make statements regarding varied topics as a woman's role in society, pressure for a woman to stay physically desirable, or their subjugation
through uncomfortable clothing. However, the exhibition focuses on the endeavor to translate forms found in fashion into sculptural works and demonstrate the translation
of what was once "women's work" into inventive forms of sculpture. The artists confront these ideas through diverse and unconventional materials such as rocks and wire,
MDF (medium density fiberboard), stone, feathers, paper, and aluminum.
Artists in the exhibition: Isabelle de Borchgrave, Michelle Jaffé, Laura Peery (MFA '78), Amalie Rothschild, Barbara Segal, Diane Simpson, Mandy Cano Villalobos (MFA '06),
May Wilson, Susie B. Woods, and Joyce Zipperer. The exhibition is accompanied by a catalogue featuring essays by Olivia Kohler-Maga, Assistant Director and Sybil Gohari, Ph.D.
To view past exhibitions please view our Exhibition Archive