Monday, May 8, 2017

Artist Spotlight: Joyce Tenneson

“As a portraitist, I’m the opposite of the kind of photographer who stands back and says, ‘Let the person reveal himself.’ When I know there’s something inside, I try to bring it out. People tell me incredible secrets.” – Joyce Tenneson [1]


Joyce Tenneson was born in Boston in 1945, and grew up with her two sisters in Weston, Massachusetts where both of her parents worked on the grounds of a convent. In speaking about her early life and its influence on her as an artist, Tenneson said,


There is no question that the convent where my parents worked was the greatest inspiration. For me as a child, it was a mysterious environment...filled with symbolism, ritual, and beauty, and also a disturbing kind of surreal imagery…[The nuns] lived in a mysterious world of secrets that I longed to penetrate and uncover. So I watched. In a way, I became a voyeur, and this desire to observe everything has stayed with me.


As a child, her favorite book was The Secret Garden, which is very telling of her interests of finding the hidden inner self and their “incredible secrets” from early on, because to Tenneson, The Secret Garden is “the story of a hidden place where you could make things be the way you want them, if you could only find the key to get inside.”[2]


In high school, Tenneson was hired as a part-time model by Polaroid, which provided her an opportunity to become familiar with the photography business. After college, with a major in literature and a minor in art, she continued on to graduate school at George Washington University where she obtained a master’s degree with a concentration in photography and art history. Immediately after graduating, she began teaching at a community college in Washington D.C., and later as a professor at the Corcoran School of Art and the Smithsonian Institution.[3] During this time in the 1960s and 1970s, Tenneson took black-and-white photographs, and focused her camera on herself.[4] Part of what motivated Tenneson to take self-portraits was that, “It was the 1970s, a time of social upheaval and reevaluation. I was very much an activist. It was a time when the image of women was changing a lot … this sense of claiming your own identity was very new.” [5]


Joyce Tenneson, Self-Portrait with Mask, 1977. Gelatin 
silver print, 11 x 14 inches. GW Collection, Purchase.

In our current exhibition REFLECT, the photograph Self-Portrait with Mask (1977), comes from this period of her life when she was taking self-portraits while working in Washington, D.C. Her portrait appears three times throughout this photograph, but all three are secondary images of her face, while her real face is hidden. The photograph shows Tenneson with her back to the camera looking into a mirror, revealing her face to the viewer through a reflection. The second image is the painted white mask on the back of Tenneson’s head, which presumably is a mold of her own face. Collaged onto this mask is the third image, which is a small photograph of Tenneson. Why is she hiding? Which image is the more authentic Tenneson? She creates a need to see who she is, an impulse to touch her shoulder and turn her around, as if seeing her face may reveal more of a truth about her.


Although the subject and photographic techniques are different during this early period, what Tenneson calls her materials, “the fabric, the skin, and the light, and then the inner person I’m trying to reveal,” remain consistent throughout her career.[6] In Self-Portrait with Mask, these materials are very present, including the invisible “material” of her own inner person. She often uses veils or transparent materials in her portraits and self-portraits. Her interest in self-discovery continues even when she is taking portraits of others and revealing their inner selves, because as she observed, “I look like my work, I take that as a compliment. Metaphorically, I look like my work.”[7]


In 1983, after 15 years of living in Washington, D.C. and recently divorced, Tenneson moved to New York City where she began focusing more intently on her photography and also began photographing other people. She shot her photographs primarily using the Polaroid 20x24 camera, and started using color as well. Her first big success was her photograph of Suzanne in Chair, which first appeared on the cover of American Photo in 1986, and later was in her 1994 book Transformations.[8]


Throughout Tenneson’s career, her photographs have appeared on the covers of many magazines, including Time, Life, and Entertainment Weekly. Her portraits include notable figures such as Nancy Reagan and Sandra Day O’Connor, as well as the New York Yankees baseball team. She has published over 16 books of photography, and her 2002 book Wise Women was the New York Times best-selling photography book of the year.[9] Tenneson currently resides in Maine, and continues to give lectures and teach workshops.

By Maria Gorbaty, Gallery Assistant


See Self-Portrait with Mask (1977) in REFLECT: Photography Looking Forward, Looking Back at the Luther W. Brady Art Gallery through July 7, 2017.

_____________
[1]  https://www.washingtonpost.com/archive/lifestyle/style/1983/10/30/tenneson-portrait-of-the-photographer/e78dc5cc-affa-45d2-a75c-ec4fad2e0c10/?utm_term=.953eab7f7793
[2] http://www.tenneson.com/sites/default/files/press/Intro-Interview-Transformations-JT.pdf
[3] http://www.pdngallery.com/legends/tenneson/interview6.html
[4] http://www.bandwmag.com/articles/joyce-tenneson-spiritual-warrior
[5] Ibid.
[6] http://www.photoworkshop.com/artman/publish/interview_with_joyce_tenneson.shtml
[7] Ibid.
[8] http://www.nehomemag.com/the-insider/
[9] http://www.tenneson.com/content/bio

Friday, March 31, 2017

Margaretta Peale

James Peale, Anna and Margaretta Peale, ca. 1805. 
Oil on canvas, 29 x 24 in. Pennsylvania Academy 
Margaretta Peale (1785-1882) comes from a prominent family of painters. Her uncle, Charles Willson Peale (1741-1827), is probably the most famous in the Peale family. Charles Willson Peale is known for his portraiture of prominent figures, and also establishing the Philadelphia Museum, one of the first museums in America. Some of Charles Willson Peale’s sons (Margaretta’s cousins) continued in the family business of painting. They are notable for their still lifes and portraits, as well as their unusual names - Rembrandt, Raphaelle, and Titian - names of some of Charles Willson Peale’s favorite artists. [1]



Margaretta Peale, Strawberries and
Cherries, n.d. Oil on canvas, 10-1/16 
x 12-1/8 in. Pennsylvania Academy
Margaretta’s father, James Peale (1749-1831), was the younger brother of Charles Willson Peale. He was taught how to paint by his older brother and also worked in his studio. James Peale is most notable for his still lifes and miniature paintings. [2] He had six children, most famously Margaretta and her sisters Anna Claypoole Peale (1791-1878) and Sarah Miriam Peale (1800-1885). Margaretta’s sisters were acclaimed female painters of their time and became the first women members of the Pennsylvania Academy of the Fine Arts (PAFA), which was the first arts academy in America. They were also among the first women to professionally paint for a living. [3] While Margaretta was not a member of PAFA, she still had the honor of exhibiting her work at the academy. Today Margaretta’s legacy is still overshadowed by that of her sisters, however this is most likely due to the fact that many of her paintings no longer exist.

Margaretta Peale, William Staughton, D.D., n.d.
Oil on canvas. The George Washington University
Permanent Collection.
Although Margaretta Peale was most known for her still life paintings, George Washington University owns five of her portrait paintings - possibly the only ones that are still in existence. The portraits are of William Staughton, Stephen Chapin, William Ruggles and Joseph Getchell Binney (the fifth portrait is an unidentified sitter). These four men all were presidents of the Columbian College, known today as George Washington University.

William Staughton was the first president of the college from 1821-1827. Margaretta was commissioned in 1866 to paint this portrait from her cousin Rembrandt’s portrait of Staughton (Staughton’s portrait by Margaretta is currently in the General Counsel’s office). Staughton had close ties with the Peale family presumably because he knew the Peale family while he lived in Philadelphia as a Baptist Minister, and later he became Margaretta’s brother-in-law. Anna Claypoole Peale was the second wife of Staughton and married him in August 1829, unfortunately that same year he died. [4] A portrait of William Staughton painted by James Peale in 1811 is also owned by GWU and can be found next to Margaretta’s portrait of Stephen Chapin in a small gallery in Gelman Library on the first floor.

Margaretta Peale, Stephen Chapin, D.D., c.1868. 
Oil on canvas. The George Washington 
University Permanent Collection.

Stephen Chapin was the second President of the Columbian College from 1828-1841. This portrait, painted around 1868, was commissioned by the Board of Trustees for the University. The board asked Margaretta to paint the portrait of Dr. Chapin from a likeness of his portrait owned by William Ruggles.

William Ruggles was never officially a president of the University, but served as an acting president three times from 1822-1877 during his years as a GWU faculty member. [5] Ruggles was a very influential person at the University, and holds the record of the longest consecutive period of teaching at GWU. Ruggles's portrait is currently in the Lenthall Townhouses.

Margaretta Peale, William Ruggles, n.d. Oil on 
canvas. The George Washington University 
PermanentCollection.

Margaretta Peale, Joseph Getchell Binney, D.D.
(Doctor of Divinity), n.d. Oil on canvas. The George
Washington University Permanent Collection.
Margaretta Peale, Unidentified sitter, ca. 1868. 
Oil on canvas. The George Washington University
Permanent Collection.























Joseph Getchell Binney was the fourth President of GWU from 1855-1858, and his portrait can be found in the the School of Media and Public Affairs at the George Washington University. His portrait was recently on view in our exhibition The Other 90%.

By Maria Gorbaty, Gallery Assistant

To learn more about the Luther W. Brady Art Gallery and the George Washington University’s Permanent Collection, please
visit our website.
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[1] http://philadelphiaencyclopedia.org/
[2] http://americanart.si.edu/
[3] https://nmwa.org
[4] https://library.gwu.edu/ead/ms0311.xml
[5] http://library.gwu.edu/ead/rg0002.xml#ref1109

Thursday, March 9, 2017

Glenn Goldberg Variations


Glenn Goldberg, a New York City based artist, creates paintings that are full of dots, layers, and delicately applied paint. While they are incredible images, his paintings have to be seen in person to truly understand the physicality and energy that he is expressing.

Within the gallery space, you can feel the time and motion of the artist’s hand “stitching” dots onto the canvas. By standing in front of some paintings, you will encounter an undefined space in which Goldberg is searching for what he calls “thereness.” This space will pull you close, until the only thing in your vision is the world that Goldberg has created. As the “thereness” pulls you towards the canvas, you may start to notice the exciting disorder of the layers and the human quality of the imperfection of Goldberg’s brush strokes.

On the surface, Goldberg’s paintings are attractive and beautiful, but just as Goldberg creates layers in his paintings, they are layered with meaning and ideas. In an interview on the blog Gorky’s Granddaughter, Goldberg speaks about several different concepts that he is interested in exploring with his work. Below are some of Goldberg’s quotes from this interview in which he tells us his particular interests, but it is important to keep in mind one of Goldberg’s purposes, which is, “If I am doing it in the way I want to do it, I too can look at these with a very incomplete understanding of them.”

When looking at one of Goldberg’s paintings, it does not take long to begin contemplating what the painting is about, or to apply your own thoughts or emotions to its surface. His paintings naturally take you to another place, which is one of his goals:

“I am interested in things other than physical utility,
like the utility of the mind, or ideas."

He’s also interested in those moments when ideas become language and words bubble to the surface until you can’t help but say something or ask a question. In voicing your ideas, a conversation begins, which Goldberg finds important:

“I like that important conversations can happen around
works of art or actions - mine, yours, or anybody’s.
Hopefully that is what we are most interested in."
A conversation may arise about the feelings evoked by his paintings. There is a sense of calm created through the repetitiveness of the dots, but also by showing repetition, he shows action:

“I am interested in action… action is another way to say
that I am looking for quiet, maybe somewhat mysterious,
action in my work, that is the way it feels for me.”

With this action, there is an awareness of the hand placing the dots meticulously on the canvas, tediously filling it with texture and color. It is as if Goldberg is weaving or stitching, and in fact his wife was a weaver:

“A lot of my interests, we can say, is in the
in between zone of craft and art.”


With such a large and detailed canvas, it’s hard not to make a mistake. A dot may be out of place, or there might be some paint outside of an outline. Goldberg does not despair or find the flaws something to cover up, but instead asserts that:

“I am interested in precision and flaw, like working together...philosophically, I am interested in the union of clarity and imprecision. So within all our clarity is flaw.”




By Maria Gorbaty, Gallery Assistant

Glenn Goldberg: Of Leaves and Clouds is on view at the Luther W. Brady Art Gallery through April 14, 2017. More information is available at www.gwu.edu/~bradyart
Media Advisory: https://mediarelations.gwu.edu/brooklyn-artist-glenn-goldberg-show-works-interpreting-nature-gw%E2%80%99s-luther-w-brady-art-gallery







Thursday, January 19, 2017

UPDATED: GLENN GOLDBERG Photo A Week Challenge



If you’re like us, you’re always looking for inspiration. Recently, we decided to relaunch our Instagram and what better place for inspiration than the walls of an art gallery? Seeing something in a painting or sculpture makes you notice the beauty of things that you come across in everyday life. And that’s why we decided to put the challenge out to you to capture that something with a photo challenge inspired by our latest exhibition, Glenn Goldberg: Of Leaves and Clouds.

Glenn Goldberg’s works have a common feature: his ever-present dots over light washes of color creating multiple layers within each composition. His signature marks not only structure the space, but also are a record of his concentrated attention, time and devotion. His work ethic is apparent in the extraordinary details of layered textures he achieves. He draws his inspiration from nature, jazz music, textile design, African and Asian art, and decorative arts.

So, how does this photo challenge thing work? It’s easy:
  • Each Monday, we’ll post a detail from one of Glenn Goldberg’s pieces that inspires us and give you a prompt based on that. [In case you want to plan ahead, there’s a graphic above that outlines the prompts for the next 12 weeks.]
  • Use our prompt, and the art that inspired it, to think creatively and snap your own photo.
  • Post your photo to your Instagram account with the hashtag #GGphotoaweek.
  • [UPDATE] Each Monday, we’ll look through all the photos you’ve posted with #GGphotoaweek from the previous week and choose a winner! We’ll repost that photo on our Instagram account instagram.com/bradygallery 
What do I need in order to do this? Just a phone with a camera and an Instagram account. No fancy photography skills required. (Although we’re interested in seeing what some of our professional photographer friends come up with!)  Keep the prompt in the back of your mind and when inspiration strikes, snap a pic and post it.

Are there prizes for the winners? Yes! We’ll announce the prize each Monday and contact the winner after we choose the winning photo.

Of course the best way to gain inspiration from these pieces is to see them in person. Glenn Goldberg: Of Leaves and Clouds is on view through April 14, 2017. We’re open 10:00 AM-5:00 PM, Tuesday - Friday.
Visit https://www.gwu.edu/~bradyart/brady/exhibitions.html for more information.

Still have questions? Ask us in the comments or email lutherbradyart@gmail.com


Wednesday, November 23, 2016

Scenic Overlook, Next Turn


scenic_overlook_arrow_sign
As the holidays approach, many of us will get into our cars and hit the road for a long drive. Before the road trip even begins, there is a lot of planning and anticipation containing mixed emotions of excitement, anxiety, or dread. The day of, the car is loaded up with suitcases packed frantically the night before. As a family member waits for others to pile into the car, he kicks the tires, making sure they have enough air. Right as the engine turns on, there is a shout from the backseat, “Wait! I forgot something!” Finally, the doors are shut, the heat is turned on, and Siri states that she has found the best route. While the car pulls out of the driveway, questions float in the car, “Is there enough gas?” “Will we get there on time?” “Where will we stop?”

The pieces in the exhibition Road Trip: A Journey through the GW Collection, record the moment when the music is turned on and the monotony of the road begins. It is during this time, no longer in the panic mode of preparing and anticipating, that the mind is at rest and open to contemplate and wander. The surrounding landscape begins to reveal its beauty, and there is a desire to capture these moments often through photography, paintings, songs, poems, or literature.



Karen Margo Lee, Winter Sunrise, 1989. Oil on canvas, 30 x 40 inches. GW 
Permanent Collection. MFA Thesis Acquisition, 1989.
Winter Sunrise (1989), painted by Karen Margo Lee, depicts a quiet scene on an empty back road. The hard lines of man-made objects associated with the road – a light post, a street sign, and power lines – are often omitted from a landscape painting, but here they are elevated. These objects, often seen as commonplace and ugly, make the landscape interesting. 
John Baeder, Chicken Chops, 1980. Silkscreen, ed. 219/
250, 16-1/4 x 24-1/2 inches. GW Permanent Collection.
Gift of Jayson D. Pankin, 1994.
In the print Chicken Chops (1980) by John Baeder, the photographer appreciates a diner and its setting. The scene is nostalgic for a time without drive-thrus and corporate chain restaurants. Often along the road, there are moments that the past reveals itself, and we are connected with all those who have driven the same road.


N. Jay Jaffee, Tire Store, n.d. Gelatin silver print. GW 
Permanent Collection. Gift of Gary Granoff, 1985.

The photograph Tire Store by N. Jay Jaffee, shows a worn down building that looks as if it may be on the verge of going out of business. But even here, the photographer stopped, taking a moment to appreciate the odd and kitschy tire shop.










Although often quoted, Ursula K. Le Guin’s words ring true –“It is good to have an end to journey toward; but it is the journey that matters, in the end.” During the holidays, take a moment to look at this exhibition and discover what artists have found important enough to record during their road trips but also, look, and find pleasure in your own road trip.

Maria Gorbaty, Gallery AssistantRoad Trip: A Journey through the GW Collection is on view through January 31, 2017 on the first floor of GW's Media and Public Affairs Building, 805 21st Street NW.


Wednesday, October 12, 2016

A Brief History of Ando Hiroshige

          Often considered the last of the great Edo period (1603-1868) landscape print designers, Ando Hiroshige, also known as Utagawa Hiroshige, lived a relatively quiet life. He was the son of Ando Genemon a fire warden in Edo castle. Ando Hiroshige exhibited talent in art and was often seen practicing around the castle. At the tender age of 12, Hiroshige lost both of his parents and subsequently accepted the hereditary title of fire warden. Soon after, he applied for an apprenticeship at the Toyokuni School and Toyohiro School. The founders of both schools were students of the Utagawa Toyoharu. Hiroshige was only accepted at the Toyohiro School. Hiroshige progressed very quickly in the Toyohiro school and was later accepted into the Utagawa fraternity where he adopted the name Utagawa Hiroshige.

          While studying at the Toyohiro School, Hiroshige studied Kano and Shijo painting styles and created traditional ukiyo-e prints such as prints of kabuki actors and bijinga (beautiful women). He practiced print design part-time until his son was old enough to accept his position as fire warden at the castle. After his sensei (Toyohiro) died in 1830, Hiroshige started creating landscape paintings. In 1832, Hiroshige was invited on a convoy to escort a gift (a group of horses) to the emperor in Kyoto from the Shogun in Edo (now Tokyo). It was during this trip that Hiroshige created his most popular prints Fifty-three Stations of the Tokaido Road. In these prints, Hiroshige “combined a lyrical view of the countryside throughout the course of the four seasons with charmingly humorous depictions of the people and the local customs of each post stations” (Mason, 292). 

          Hiroshige wanted to bring something different to the world of ukiyo-e prints. Instead of focusing on traditional theme like bijinga (beautiful women) and kabuki actors, Hiroshige used landscape as his muse. Unlike Hokusai, Hiroshige presented nature in a simple, honest, straightforward, and emotional manner. He was able to harmoniously blend man with nature, creating prints that still capture audiences today (Strange, 130-134).

          It was only after his death in 1858 that Hiroshige received notoriety for his life’s work.  The forced opening of the Japanese borders by U.S. ships in 1853 and the signing of unequal treaties with foreign European nations caused the leaders of Edo to reevaluate Japanese foreign policy and led to the end of the Edo period in 1868.  Just as the Western countries were affecting Japan, Japan was also leaving its mark on the West most notably in the art world. Japanese culture inspired Western art so much that the term Japonisme was created in 1872 by Philippe Burty to describe the phenomenon. Hiroshige’s prints (along with many other designers) were distributed in Europe. Vincent Van Gogh was so inspired by Hiroshige’s prints, he made replicas of the scenes. Here is an example of one of Van Gogh replicas. On the left is Hiroshige’s print and on the right is Van Gogh’s painting of the print.
 

The Luther W. Brady Art Gallery is hosting an exhibit of first edition woodblock prints designed by Ando Hiroshige (1797-1858). The exhibit, Along the Eastern Road: Hiroshige’s Fifty-Three Stations of the Tokaido was organized by the Reading Public Museum and will be at the Brady Art Gallery until December 2.

- Denisha Phipps, GW Graduate Student in Exhibition Design and Public Engagement

Bibliography:
Ives, Colta. “Japonisme.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/jpon/hd_jpon.htm (October 2004)
Department of Asian Art. “Woodblock Prints in the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ukiy/hd_ukiy.htm (October 2003)
Strange, Edward. Hiroshige's Woodblock Prints: A Guide. New York: Dover Publications, 1983. Print.
Mason, Penelope E. History of Japanese Art. New York: Abrams, 1993. Print.



  

Monday, October 3, 2016

Ukiyo-e Woodblock Prints

          The word ukiyo stemmed from Buddhist origins, it means “floating world”. It was used to describe the impermanence of the human world and the belief that all things are short lived. During the Edo period (1600-1868) the word ukiyo changed; it was used to express that the fleeting nature of life was to be enjoyed to the fullest because of its ephemeral nature. The word became synonymous with the pleasure and theater districts of Edo (now Tokyo, Japan) that were constantly changing. Ukiyo-e literally translates to “floating world pictures”. Woodblock prints are the most representative art form of ukiyo-e and the Edo period.
Utagawa Hiroshige (Japanese, 1797-1858), 13th Station: Hara, circa 1833-4 from Fifty-Three Stations of the Tokaido Road, woodblock print, courtesy of Reading Public Museum, Reading, Pennsylvania
          Without the urbanization of Edo and the rise of the financial power of the chōnin (merchant class) ukiyo-e might not have gained as much popularity as it did. The chōnin class were subjected to sumptuary laws (ken'yakurei: laws regulating expenditures) created by the samurai class to keep up the illusions of the social system. The Japanese social structure was of a Confucian design (Samurai-Farmers-Artisans-Merchants) with samurai on the top of the social structure and merchants at the bottom. Many samurai families were going bankrupt while the chōnin class, the lowest social class, flourished financially. The sumptuary edicts restricted any display of wealth, including what chōnin could and could not wear. These laws created tension between the samurai elite and chōnin, so the chōnin class found ways around these laws by funding the arts and creating a place where they could enjoy themselves and spend their hard earned money, hence the “floating world” became a place where rich merchants could show and experience artistic pleasures.

          Ukiyo-e prints also served as very important pieces of print media. Traditional ukiyo-e prints showed images from the pleasure districts (such as Yoshiwara) of the urban cities like Edo. The images were of the beautiful courtesans (bijinga) and famous kabuki actors of the theater district. Similar to magazines of today, ukiyo-e prints during the Edo period provided fashion and culture tips for the wives of wealthy merchant and samurai families. They were also used for advertising and commerce. During the late Edo period a successful effort to bring landscape woodblock print into the world of ukiyo-e was made by Hokusai and Hiroshige. 

          The Luther W. Brady Art Gallery is hosting an exhibit of first edition woodblock prints designed by Ando Hiroshige (1797-1858).  The exhibit, Along the Eastern Road: Hiroshige’s Fifty-Three Stations of the Tokaido was organized by the Reading Public Museum and will be at the Brady Art Gallery until December 2.

Utagawa Hiroshige (Japanese, 1797-1858), 10th Station: Hakone, circa 1833-4 from Fifty-Three Stations of the Tokaido Road, woodblock print, courtesy of Reading Public Museum, Reading, Pennsylvania

- Denisha Phipps, GW Graduate Student in Exhibition Design and Public Engagement

Bibliography:
Strange, Edward. Hiroshige's Woodblock Prints: A Guide. New York: Dover Publications, 1983.                     Print.

Mason, Penelope E. History of Japanese Art. New York: Abrams, 1993. Print.

Slade, Toby. Japanese Fashion: A Cultural History. Oxford: Berg, 2009. Print.

Department of Asian Art. “Woodblock Prints in the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ukiy/hd_ukiy.htm (October 2003)


Department of Asian Art. “Art of the Pleasure Quarters and the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/plea/hd_plea.htm (October 2004)

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Covering exhibits at the Luther W. Brady Art Gallery and giving you a peek into the Permanent Collection of the George Washington University.

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Monday, May 8, 2017

Artist Spotlight: Joyce Tenneson

“As a portraitist, I’m the opposite of the kind of photographer who stands back and says, ‘Let the person reveal himself.’ When I know there’s something inside, I try to bring it out. People tell me incredible secrets.” – Joyce Tenneson [1]


Joyce Tenneson was born in Boston in 1945, and grew up with her two sisters in Weston, Massachusetts where both of her parents worked on the grounds of a convent. In speaking about her early life and its influence on her as an artist, Tenneson said,


There is no question that the convent where my parents worked was the greatest inspiration. For me as a child, it was a mysterious environment...filled with symbolism, ritual, and beauty, and also a disturbing kind of surreal imagery…[The nuns] lived in a mysterious world of secrets that I longed to penetrate and uncover. So I watched. In a way, I became a voyeur, and this desire to observe everything has stayed with me.


As a child, her favorite book was The Secret Garden, which is very telling of her interests of finding the hidden inner self and their “incredible secrets” from early on, because to Tenneson, The Secret Garden is “the story of a hidden place where you could make things be the way you want them, if you could only find the key to get inside.”[2]


In high school, Tenneson was hired as a part-time model by Polaroid, which provided her an opportunity to become familiar with the photography business. After college, with a major in literature and a minor in art, she continued on to graduate school at George Washington University where she obtained a master’s degree with a concentration in photography and art history. Immediately after graduating, she began teaching at a community college in Washington D.C., and later as a professor at the Corcoran School of Art and the Smithsonian Institution.[3] During this time in the 1960s and 1970s, Tenneson took black-and-white photographs, and focused her camera on herself.[4] Part of what motivated Tenneson to take self-portraits was that, “It was the 1970s, a time of social upheaval and reevaluation. I was very much an activist. It was a time when the image of women was changing a lot … this sense of claiming your own identity was very new.” [5]


Joyce Tenneson, Self-Portrait with Mask, 1977. Gelatin 
silver print, 11 x 14 inches. GW Collection, Purchase.

In our current exhibition REFLECT, the photograph Self-Portrait with Mask (1977), comes from this period of her life when she was taking self-portraits while working in Washington, D.C. Her portrait appears three times throughout this photograph, but all three are secondary images of her face, while her real face is hidden. The photograph shows Tenneson with her back to the camera looking into a mirror, revealing her face to the viewer through a reflection. The second image is the painted white mask on the back of Tenneson’s head, which presumably is a mold of her own face. Collaged onto this mask is the third image, which is a small photograph of Tenneson. Why is she hiding? Which image is the more authentic Tenneson? She creates a need to see who she is, an impulse to touch her shoulder and turn her around, as if seeing her face may reveal more of a truth about her.


Although the subject and photographic techniques are different during this early period, what Tenneson calls her materials, “the fabric, the skin, and the light, and then the inner person I’m trying to reveal,” remain consistent throughout her career.[6] In Self-Portrait with Mask, these materials are very present, including the invisible “material” of her own inner person. She often uses veils or transparent materials in her portraits and self-portraits. Her interest in self-discovery continues even when she is taking portraits of others and revealing their inner selves, because as she observed, “I look like my work, I take that as a compliment. Metaphorically, I look like my work.”[7]


In 1983, after 15 years of living in Washington, D.C. and recently divorced, Tenneson moved to New York City where she began focusing more intently on her photography and also began photographing other people. She shot her photographs primarily using the Polaroid 20x24 camera, and started using color as well. Her first big success was her photograph of Suzanne in Chair, which first appeared on the cover of American Photo in 1986, and later was in her 1994 book Transformations.[8]


Throughout Tenneson’s career, her photographs have appeared on the covers of many magazines, including Time, Life, and Entertainment Weekly. Her portraits include notable figures such as Nancy Reagan and Sandra Day O’Connor, as well as the New York Yankees baseball team. She has published over 16 books of photography, and her 2002 book Wise Women was the New York Times best-selling photography book of the year.[9] Tenneson currently resides in Maine, and continues to give lectures and teach workshops.

By Maria Gorbaty, Gallery Assistant


See Self-Portrait with Mask (1977) in REFLECT: Photography Looking Forward, Looking Back at the Luther W. Brady Art Gallery through July 7, 2017.

_____________
[1]  https://www.washingtonpost.com/archive/lifestyle/style/1983/10/30/tenneson-portrait-of-the-photographer/e78dc5cc-affa-45d2-a75c-ec4fad2e0c10/?utm_term=.953eab7f7793
[2] http://www.tenneson.com/sites/default/files/press/Intro-Interview-Transformations-JT.pdf
[3] http://www.pdngallery.com/legends/tenneson/interview6.html
[4] http://www.bandwmag.com/articles/joyce-tenneson-spiritual-warrior
[5] Ibid.
[6] http://www.photoworkshop.com/artman/publish/interview_with_joyce_tenneson.shtml
[7] Ibid.
[8] http://www.nehomemag.com/the-insider/
[9] http://www.tenneson.com/content/bio

Friday, March 31, 2017

Margaretta Peale

James Peale, Anna and Margaretta Peale, ca. 1805. 
Oil on canvas, 29 x 24 in. Pennsylvania Academy 
Margaretta Peale (1785-1882) comes from a prominent family of painters. Her uncle, Charles Willson Peale (1741-1827), is probably the most famous in the Peale family. Charles Willson Peale is known for his portraiture of prominent figures, and also establishing the Philadelphia Museum, one of the first museums in America. Some of Charles Willson Peale’s sons (Margaretta’s cousins) continued in the family business of painting. They are notable for their still lifes and portraits, as well as their unusual names - Rembrandt, Raphaelle, and Titian - names of some of Charles Willson Peale’s favorite artists. [1]



Margaretta Peale, Strawberries and
Cherries, n.d. Oil on canvas, 10-1/16 
x 12-1/8 in. Pennsylvania Academy
Margaretta’s father, James Peale (1749-1831), was the younger brother of Charles Willson Peale. He was taught how to paint by his older brother and also worked in his studio. James Peale is most notable for his still lifes and miniature paintings. [2] He had six children, most famously Margaretta and her sisters Anna Claypoole Peale (1791-1878) and Sarah Miriam Peale (1800-1885). Margaretta’s sisters were acclaimed female painters of their time and became the first women members of the Pennsylvania Academy of the Fine Arts (PAFA), which was the first arts academy in America. They were also among the first women to professionally paint for a living. [3] While Margaretta was not a member of PAFA, she still had the honor of exhibiting her work at the academy. Today Margaretta’s legacy is still overshadowed by that of her sisters, however this is most likely due to the fact that many of her paintings no longer exist.

Margaretta Peale, William Staughton, D.D., n.d.
Oil on canvas. The George Washington University
Permanent Collection.
Although Margaretta Peale was most known for her still life paintings, George Washington University owns five of her portrait paintings - possibly the only ones that are still in existence. The portraits are of William Staughton, Stephen Chapin, William Ruggles and Joseph Getchell Binney (the fifth portrait is an unidentified sitter). These four men all were presidents of the Columbian College, known today as George Washington University.

William Staughton was the first president of the college from 1821-1827. Margaretta was commissioned in 1866 to paint this portrait from her cousin Rembrandt’s portrait of Staughton (Staughton’s portrait by Margaretta is currently in the General Counsel’s office). Staughton had close ties with the Peale family presumably because he knew the Peale family while he lived in Philadelphia as a Baptist Minister, and later he became Margaretta’s brother-in-law. Anna Claypoole Peale was the second wife of Staughton and married him in August 1829, unfortunately that same year he died. [4] A portrait of William Staughton painted by James Peale in 1811 is also owned by GWU and can be found next to Margaretta’s portrait of Stephen Chapin in a small gallery in Gelman Library on the first floor.

Margaretta Peale, Stephen Chapin, D.D., c.1868. 
Oil on canvas. The George Washington 
University Permanent Collection.

Stephen Chapin was the second President of the Columbian College from 1828-1841. This portrait, painted around 1868, was commissioned by the Board of Trustees for the University. The board asked Margaretta to paint the portrait of Dr. Chapin from a likeness of his portrait owned by William Ruggles.

William Ruggles was never officially a president of the University, but served as an acting president three times from 1822-1877 during his years as a GWU faculty member. [5] Ruggles was a very influential person at the University, and holds the record of the longest consecutive period of teaching at GWU. Ruggles's portrait is currently in the Lenthall Townhouses.

Margaretta Peale, William Ruggles, n.d. Oil on 
canvas. The George Washington University 
PermanentCollection.

Margaretta Peale, Joseph Getchell Binney, D.D.
(Doctor of Divinity), n.d. Oil on canvas. The George
Washington University Permanent Collection.
Margaretta Peale, Unidentified sitter, ca. 1868. 
Oil on canvas. The George Washington University
Permanent Collection.























Joseph Getchell Binney was the fourth President of GWU from 1855-1858, and his portrait can be found in the the School of Media and Public Affairs at the George Washington University. His portrait was recently on view in our exhibition The Other 90%.

By Maria Gorbaty, Gallery Assistant

To learn more about the Luther W. Brady Art Gallery and the George Washington University’s Permanent Collection, please
visit our website.
_________________________________
[1] http://philadelphiaencyclopedia.org/
[2] http://americanart.si.edu/
[3] https://nmwa.org
[4] https://library.gwu.edu/ead/ms0311.xml
[5] http://library.gwu.edu/ead/rg0002.xml#ref1109

Thursday, March 9, 2017

Glenn Goldberg Variations


Glenn Goldberg, a New York City based artist, creates paintings that are full of dots, layers, and delicately applied paint. While they are incredible images, his paintings have to be seen in person to truly understand the physicality and energy that he is expressing.

Within the gallery space, you can feel the time and motion of the artist’s hand “stitching” dots onto the canvas. By standing in front of some paintings, you will encounter an undefined space in which Goldberg is searching for what he calls “thereness.” This space will pull you close, until the only thing in your vision is the world that Goldberg has created. As the “thereness” pulls you towards the canvas, you may start to notice the exciting disorder of the layers and the human quality of the imperfection of Goldberg’s brush strokes.

On the surface, Goldberg’s paintings are attractive and beautiful, but just as Goldberg creates layers in his paintings, they are layered with meaning and ideas. In an interview on the blog Gorky’s Granddaughter, Goldberg speaks about several different concepts that he is interested in exploring with his work. Below are some of Goldberg’s quotes from this interview in which he tells us his particular interests, but it is important to keep in mind one of Goldberg’s purposes, which is, “If I am doing it in the way I want to do it, I too can look at these with a very incomplete understanding of them.”

When looking at one of Goldberg’s paintings, it does not take long to begin contemplating what the painting is about, or to apply your own thoughts or emotions to its surface. His paintings naturally take you to another place, which is one of his goals:

“I am interested in things other than physical utility,
like the utility of the mind, or ideas."

He’s also interested in those moments when ideas become language and words bubble to the surface until you can’t help but say something or ask a question. In voicing your ideas, a conversation begins, which Goldberg finds important:

“I like that important conversations can happen around
works of art or actions - mine, yours, or anybody’s.
Hopefully that is what we are most interested in."
A conversation may arise about the feelings evoked by his paintings. There is a sense of calm created through the repetitiveness of the dots, but also by showing repetition, he shows action:

“I am interested in action… action is another way to say
that I am looking for quiet, maybe somewhat mysterious,
action in my work, that is the way it feels for me.”

With this action, there is an awareness of the hand placing the dots meticulously on the canvas, tediously filling it with texture and color. It is as if Goldberg is weaving or stitching, and in fact his wife was a weaver:

“A lot of my interests, we can say, is in the
in between zone of craft and art.”


With such a large and detailed canvas, it’s hard not to make a mistake. A dot may be out of place, or there might be some paint outside of an outline. Goldberg does not despair or find the flaws something to cover up, but instead asserts that:

“I am interested in precision and flaw, like working together...philosophically, I am interested in the union of clarity and imprecision. So within all our clarity is flaw.”




By Maria Gorbaty, Gallery Assistant

Glenn Goldberg: Of Leaves and Clouds is on view at the Luther W. Brady Art Gallery through April 14, 2017. More information is available at www.gwu.edu/~bradyart
Media Advisory: https://mediarelations.gwu.edu/brooklyn-artist-glenn-goldberg-show-works-interpreting-nature-gw%E2%80%99s-luther-w-brady-art-gallery







Thursday, January 19, 2017

UPDATED: GLENN GOLDBERG Photo A Week Challenge



If you’re like us, you’re always looking for inspiration. Recently, we decided to relaunch our Instagram and what better place for inspiration than the walls of an art gallery? Seeing something in a painting or sculpture makes you notice the beauty of things that you come across in everyday life. And that’s why we decided to put the challenge out to you to capture that something with a photo challenge inspired by our latest exhibition, Glenn Goldberg: Of Leaves and Clouds.

Glenn Goldberg’s works have a common feature: his ever-present dots over light washes of color creating multiple layers within each composition. His signature marks not only structure the space, but also are a record of his concentrated attention, time and devotion. His work ethic is apparent in the extraordinary details of layered textures he achieves. He draws his inspiration from nature, jazz music, textile design, African and Asian art, and decorative arts.

So, how does this photo challenge thing work? It’s easy:
  • Each Monday, we’ll post a detail from one of Glenn Goldberg’s pieces that inspires us and give you a prompt based on that. [In case you want to plan ahead, there’s a graphic above that outlines the prompts for the next 12 weeks.]
  • Use our prompt, and the art that inspired it, to think creatively and snap your own photo.
  • Post your photo to your Instagram account with the hashtag #GGphotoaweek.
  • [UPDATE] Each Monday, we’ll look through all the photos you’ve posted with #GGphotoaweek from the previous week and choose a winner! We’ll repost that photo on our Instagram account instagram.com/bradygallery 
What do I need in order to do this? Just a phone with a camera and an Instagram account. No fancy photography skills required. (Although we’re interested in seeing what some of our professional photographer friends come up with!)  Keep the prompt in the back of your mind and when inspiration strikes, snap a pic and post it.

Are there prizes for the winners? Yes! We’ll announce the prize each Monday and contact the winner after we choose the winning photo.

Of course the best way to gain inspiration from these pieces is to see them in person. Glenn Goldberg: Of Leaves and Clouds is on view through April 14, 2017. We’re open 10:00 AM-5:00 PM, Tuesday - Friday.
Visit https://www.gwu.edu/~bradyart/brady/exhibitions.html for more information.

Still have questions? Ask us in the comments or email lutherbradyart@gmail.com


Wednesday, November 23, 2016

Scenic Overlook, Next Turn


scenic_overlook_arrow_sign
As the holidays approach, many of us will get into our cars and hit the road for a long drive. Before the road trip even begins, there is a lot of planning and anticipation containing mixed emotions of excitement, anxiety, or dread. The day of, the car is loaded up with suitcases packed frantically the night before. As a family member waits for others to pile into the car, he kicks the tires, making sure they have enough air. Right as the engine turns on, there is a shout from the backseat, “Wait! I forgot something!” Finally, the doors are shut, the heat is turned on, and Siri states that she has found the best route. While the car pulls out of the driveway, questions float in the car, “Is there enough gas?” “Will we get there on time?” “Where will we stop?”

The pieces in the exhibition Road Trip: A Journey through the GW Collection, record the moment when the music is turned on and the monotony of the road begins. It is during this time, no longer in the panic mode of preparing and anticipating, that the mind is at rest and open to contemplate and wander. The surrounding landscape begins to reveal its beauty, and there is a desire to capture these moments often through photography, paintings, songs, poems, or literature.



Karen Margo Lee, Winter Sunrise, 1989. Oil on canvas, 30 x 40 inches. GW 
Permanent Collection. MFA Thesis Acquisition, 1989.
Winter Sunrise (1989), painted by Karen Margo Lee, depicts a quiet scene on an empty back road. The hard lines of man-made objects associated with the road – a light post, a street sign, and power lines – are often omitted from a landscape painting, but here they are elevated. These objects, often seen as commonplace and ugly, make the landscape interesting. 
John Baeder, Chicken Chops, 1980. Silkscreen, ed. 219/
250, 16-1/4 x 24-1/2 inches. GW Permanent Collection.
Gift of Jayson D. Pankin, 1994.
In the print Chicken Chops (1980) by John Baeder, the photographer appreciates a diner and its setting. The scene is nostalgic for a time without drive-thrus and corporate chain restaurants. Often along the road, there are moments that the past reveals itself, and we are connected with all those who have driven the same road.


N. Jay Jaffee, Tire Store, n.d. Gelatin silver print. GW 
Permanent Collection. Gift of Gary Granoff, 1985.

The photograph Tire Store by N. Jay Jaffee, shows a worn down building that looks as if it may be on the verge of going out of business. But even here, the photographer stopped, taking a moment to appreciate the odd and kitschy tire shop.










Although often quoted, Ursula K. Le Guin’s words ring true –“It is good to have an end to journey toward; but it is the journey that matters, in the end.” During the holidays, take a moment to look at this exhibition and discover what artists have found important enough to record during their road trips but also, look, and find pleasure in your own road trip.

Maria Gorbaty, Gallery AssistantRoad Trip: A Journey through the GW Collection is on view through January 31, 2017 on the first floor of GW's Media and Public Affairs Building, 805 21st Street NW.


Wednesday, October 12, 2016

A Brief History of Ando Hiroshige

          Often considered the last of the great Edo period (1603-1868) landscape print designers, Ando Hiroshige, also known as Utagawa Hiroshige, lived a relatively quiet life. He was the son of Ando Genemon a fire warden in Edo castle. Ando Hiroshige exhibited talent in art and was often seen practicing around the castle. At the tender age of 12, Hiroshige lost both of his parents and subsequently accepted the hereditary title of fire warden. Soon after, he applied for an apprenticeship at the Toyokuni School and Toyohiro School. The founders of both schools were students of the Utagawa Toyoharu. Hiroshige was only accepted at the Toyohiro School. Hiroshige progressed very quickly in the Toyohiro school and was later accepted into the Utagawa fraternity where he adopted the name Utagawa Hiroshige.

          While studying at the Toyohiro School, Hiroshige studied Kano and Shijo painting styles and created traditional ukiyo-e prints such as prints of kabuki actors and bijinga (beautiful women). He practiced print design part-time until his son was old enough to accept his position as fire warden at the castle. After his sensei (Toyohiro) died in 1830, Hiroshige started creating landscape paintings. In 1832, Hiroshige was invited on a convoy to escort a gift (a group of horses) to the emperor in Kyoto from the Shogun in Edo (now Tokyo). It was during this trip that Hiroshige created his most popular prints Fifty-three Stations of the Tokaido Road. In these prints, Hiroshige “combined a lyrical view of the countryside throughout the course of the four seasons with charmingly humorous depictions of the people and the local customs of each post stations” (Mason, 292). 

          Hiroshige wanted to bring something different to the world of ukiyo-e prints. Instead of focusing on traditional theme like bijinga (beautiful women) and kabuki actors, Hiroshige used landscape as his muse. Unlike Hokusai, Hiroshige presented nature in a simple, honest, straightforward, and emotional manner. He was able to harmoniously blend man with nature, creating prints that still capture audiences today (Strange, 130-134).

          It was only after his death in 1858 that Hiroshige received notoriety for his life’s work.  The forced opening of the Japanese borders by U.S. ships in 1853 and the signing of unequal treaties with foreign European nations caused the leaders of Edo to reevaluate Japanese foreign policy and led to the end of the Edo period in 1868.  Just as the Western countries were affecting Japan, Japan was also leaving its mark on the West most notably in the art world. Japanese culture inspired Western art so much that the term Japonisme was created in 1872 by Philippe Burty to describe the phenomenon. Hiroshige’s prints (along with many other designers) were distributed in Europe. Vincent Van Gogh was so inspired by Hiroshige’s prints, he made replicas of the scenes. Here is an example of one of Van Gogh replicas. On the left is Hiroshige’s print and on the right is Van Gogh’s painting of the print.
 

The Luther W. Brady Art Gallery is hosting an exhibit of first edition woodblock prints designed by Ando Hiroshige (1797-1858). The exhibit, Along the Eastern Road: Hiroshige’s Fifty-Three Stations of the Tokaido was organized by the Reading Public Museum and will be at the Brady Art Gallery until December 2.

- Denisha Phipps, GW Graduate Student in Exhibition Design and Public Engagement

Bibliography:
Ives, Colta. “Japonisme.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/jpon/hd_jpon.htm (October 2004)
Department of Asian Art. “Woodblock Prints in the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ukiy/hd_ukiy.htm (October 2003)
Strange, Edward. Hiroshige's Woodblock Prints: A Guide. New York: Dover Publications, 1983. Print.
Mason, Penelope E. History of Japanese Art. New York: Abrams, 1993. Print.



  

Monday, October 3, 2016

Ukiyo-e Woodblock Prints

          The word ukiyo stemmed from Buddhist origins, it means “floating world”. It was used to describe the impermanence of the human world and the belief that all things are short lived. During the Edo period (1600-1868) the word ukiyo changed; it was used to express that the fleeting nature of life was to be enjoyed to the fullest because of its ephemeral nature. The word became synonymous with the pleasure and theater districts of Edo (now Tokyo, Japan) that were constantly changing. Ukiyo-e literally translates to “floating world pictures”. Woodblock prints are the most representative art form of ukiyo-e and the Edo period.
Utagawa Hiroshige (Japanese, 1797-1858), 13th Station: Hara, circa 1833-4 from Fifty-Three Stations of the Tokaido Road, woodblock print, courtesy of Reading Public Museum, Reading, Pennsylvania
          Without the urbanization of Edo and the rise of the financial power of the chōnin (merchant class) ukiyo-e might not have gained as much popularity as it did. The chōnin class were subjected to sumptuary laws (ken'yakurei: laws regulating expenditures) created by the samurai class to keep up the illusions of the social system. The Japanese social structure was of a Confucian design (Samurai-Farmers-Artisans-Merchants) with samurai on the top of the social structure and merchants at the bottom. Many samurai families were going bankrupt while the chōnin class, the lowest social class, flourished financially. The sumptuary edicts restricted any display of wealth, including what chōnin could and could not wear. These laws created tension between the samurai elite and chōnin, so the chōnin class found ways around these laws by funding the arts and creating a place where they could enjoy themselves and spend their hard earned money, hence the “floating world” became a place where rich merchants could show and experience artistic pleasures.

          Ukiyo-e prints also served as very important pieces of print media. Traditional ukiyo-e prints showed images from the pleasure districts (such as Yoshiwara) of the urban cities like Edo. The images were of the beautiful courtesans (bijinga) and famous kabuki actors of the theater district. Similar to magazines of today, ukiyo-e prints during the Edo period provided fashion and culture tips for the wives of wealthy merchant and samurai families. They were also used for advertising and commerce. During the late Edo period a successful effort to bring landscape woodblock print into the world of ukiyo-e was made by Hokusai and Hiroshige. 

          The Luther W. Brady Art Gallery is hosting an exhibit of first edition woodblock prints designed by Ando Hiroshige (1797-1858).  The exhibit, Along the Eastern Road: Hiroshige’s Fifty-Three Stations of the Tokaido was organized by the Reading Public Museum and will be at the Brady Art Gallery until December 2.

Utagawa Hiroshige (Japanese, 1797-1858), 10th Station: Hakone, circa 1833-4 from Fifty-Three Stations of the Tokaido Road, woodblock print, courtesy of Reading Public Museum, Reading, Pennsylvania

- Denisha Phipps, GW Graduate Student in Exhibition Design and Public Engagement

Bibliography:
Strange, Edward. Hiroshige's Woodblock Prints: A Guide. New York: Dover Publications, 1983.                     Print.

Mason, Penelope E. History of Japanese Art. New York: Abrams, 1993. Print.

Slade, Toby. Japanese Fashion: A Cultural History. Oxford: Berg, 2009. Print.

Department of Asian Art. “Woodblock Prints in the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ukiy/hd_ukiy.htm (October 2003)


Department of Asian Art. “Art of the Pleasure Quarters and the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/plea/hd_plea.htm (October 2004)

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About

Washington, District of Columbia, United States
"Found In Collection" or simply "FIC" is the way many museums classify the more mysterious items in their possession that have little or no documentation. Here at the Luther W. Brady Art Gallery of the George Washington University, we do keep extensive records of our collection, but some of the items we come across in academic buildings or our own storage can leave us wondering. This blog is an effort to showcase some of the more curious examples and their stories, and to provide a glimpse of the great variety of art pieces within the collection. To learn more about the Brady Gallery's history, recent exhibitions, or the George Washington University, take a look at the links below.

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