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OAS: Photography by Jorge Brantmayer

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August at the Phillips

EXHIBITIONS
Admission: $12 for adults; $10 for students as well as visitors 62 and over; free for members and visitors 18 and under
through
Sept. 11, 2016
William Merritt Chase: A Modern Master
William Merritt Chase (American, 1849–1916), a renowned figure in the international art circles of the late 19th and early 20th centuries, was a brilliant observer of contemporary life, an innovative painter, and an influential teacher. Presented on the centennial of his death, this retrospective—the first in over three decades—explores the interrelationships in Chase’s work across subject and media, from portraits and figurative paintings, to urban park scenes, domestic interiors, still lifes, and landscapes. Featuring more than 75 of the artist’s best artworks, this exhibition examines the full breadth of Chase’s achievements spanning his four-decade long career to shed new light on the artist’s aesthetic philosophy, artistic practice, and working methods while positioning his art and life within the vibrant international cultural climate at the turn of the century.
Admission for all other art on view:

Weekends: $12 for adults, $10 for students as well as visitors 62 and over; free for members and visitors 18 and under; FREE weekdays, includes permanent collection
INTERSECTIONS
Contemporary art projects inspired by the art and spaces in The Phillips Collection
through
Oct. 2, 2016
Bettina Pousttchi: Double Monuments
Through photography and sculpture, Berlin-based artist Bettina Pousttchi explores the history and memory of architecture. In her series Double Monument for Flavin and Tatlin(2010–2014), Pousttchi incorporates constraining materials like rails, street barricades, and metal crowd barriers into sculptural forms with spiraling vertical towers and neon light tubes. Five Double Monument sculptures, ranging from 8 to 12 feet, are on view, paired with Naum Gabo’s Linear Structure in Space No. 1 (1943) and photographs from the 1930s and 1940s by Berenice Abbott, Louis Faurer, Alfred Eisenstaedt, and Gjon Mili, black and white images that underline the theme of illuminated space presented in Pousttchi and Gabo’s works.
ALSO ON VIEW
through
Sept. 18, 2016
Karel Appel: A Gesture of Color, Paintings and Sculptures, 1947–2004
Karel Appel (1921–2006) is perhaps the most renowned Dutch artist of the latter half of the 20th century and one of founding members of the avant-garde COBRA group. Marking the 10th anniversary of the artist’s death, this survey of 22 paintings and sculptures provides a fresh look at an oeuvre that goes beyond the 1950s, spanning more than 60 years. The exhibition revisits Appel’s early interest in children’s art, his stylistic experiments, and his highly personal—and sometimes almost abstract—interpretation of traditional subjects like the nude, the portrait, and the urban or rural landscape.
through
July 31, 2016
Young Artists Exhibition: DC Partner Schools
The Art Links to Learning: Museum-in-Residence program culminates the 2015–2016 school year in an exhibition showcasing student art from the DC partner schools, Takoma Education Campus, Turner Elementary School, and King Elementary School. Each class’s art project relates to common core state standards and themes explored at the museum and in the classroom.
Aug. 14
through
Sept. 19, 2016
2016 James McLaughlin Memorial Staff Show
For more than 25 years, The Phillips Collection has held a staff show to feature the works of artists employed at the museum. In 1984, the staff show was endowed by the family of James McLaughlin, an accomplished still-life painter who worked at the museum for 50 years. In 1932, McLaughlin began his association with Duncan Phillips as a student at the Phillips Gallery Art School. Until his death in 1982, McLaughlin played an active role in the museum’s activities as a gallery preparator and curator who hired art students as museum guards.
through
April 2017
Women of Influence: Elmira Bier, Minnie Byers, and Marjorie Phillips
Exhibited just outside the museum’s library, Women of Influence examines the critical roles played by three women in the Phillips’s history—Duncan Phillips’s executive assistant Elmira Bier, financial advisor Minnie Byers, and Phillips’s wife and museum co-founder Marjorie Phillips.
PERMANENT COLLECTION
Ongoing One of the world’s finest collections of modern and contemporary American and European art, the museum is home to Pierre-Auguste Renoir’s iconic Luncheon of the Boating Party, Jacob Lawrence’s epic Migration Series, and a chapel-like Rothko Room, as well as innovative new work by artists of today, including a wax room by Wolfgang Laib. Installations change frequently and are not chronological, sparking conversations across time and place.
PHILLIPS AFTER 5–August 4
Reservations strongly recommended as this popular event tends to sell out in advance: www.phillipscollection.org/events. $12; $10 for visitors 62 and over and students. Members always admitted free, no reservation needed.
5–8:30 pm
By the Sea
Come escape the DC heat with a night at the beach alongside William Merritt Chase’s seaside images. Grab dinner at participating food trucks and taste the warm notes of summer with rum samplings from Cotton & Reed Distillery and sway to the calypso sound of the Casio Steel Band.
Gallery Talk

6, 6:30, 7,
& 7:30 pm
15-minute focused discussions about works in the museum’s permanent collection
EVENTS
Conservator’s Perspective
August 11
6:30 pm
Discovering Hide and Seek
Phillips Conservator Patricia Favero considers Chase’s painting technique over the course of his career in the context of his teaching, and also discusses the examination and conservation treatment of the Phillips’s painting Hide and Seek (1888). Included with admission to special exhibition; free for members.
Artist’s Perspective
August 18
6:30 pm
W. C.  Richardson
W. C. Richardson, Professor and Chair of the Department of Art at the University of Maryland, provides an overview of William Merritt Chase: A Modern Master from an “artist’s perspective.” Approaching the exhibition as a contemporary painter and professor of painting, Richardson will address Chase’s reputation as a “painter’s painter” through closely looking at original works of art. Included with admission to special exhibition; free for members.
Conservator’s Perspective
August 25
6:30 pm
Discovering Pastels
Phillips Conservator Sylvia Albro discusses William Merritt Chase’s revival of pastels as a fine art medium and reveals how pastels are made and used by artists. Included with admission to special exhibition; free for members.
Symposium
August 28
2–5 pm
100 Years Later: New Perspectives on William Merritt Chase
In the centennial year of his death, leading American art scholars explore William Merritt Chase’s multifaceted artistic practice from a range of perspectives that shed light on his lasting contribution to the history of modern art. Panelists include Fred Baker, John Davis, Eric Hirshler, Elsa Smithgall, and Isabel Taube. Reservations required:www.phillipscollection.org/events
TOURS
Saturdays noon
Introduction to The Phillips Collection
Highlights from one of the finest collections of Impressionist and Modern American and European art. Included in museum admission; free for members.
Sundays
1 pm
Introduction to William Merritt Chase: A Modern Master
Highlights from The Phillips Collection’s special exhibition on American artist William Merritt Chase. Included in admission to special exhibition; free for members.
SPOTLIGHT TALKS
Tuesdays–Fridays
noon
Spotlight Talks
A focused discussion about a work of art from the permanent collection or special exhibition. Included in museum admission; free for members.
August 11, 18, & 25
6 & 7 pm
Spotlight: William Merritt Chase
Focused discussion about works of art from the special exhibition. Included in admission to special exhibition; free for members.
GENERAL INFORMATION
Location:
1600 21st Street, NW (at Q Street)
Metro Red Line, Dupont Circle Station (Q Street exit), and via several bus lines,www.wmata.com
Information: 202.387.2151 or www.phillipscollection.org
Hours:
Tuesday, Wednesday, Friday, and Saturday, 10 a.m.–5 pm;
Thursday, 10 am–8:30 pm; Sunday, noon–7 pm
Café: Tryst at the Phillips: Tuesday, Wednesday, Friday, and Saturday, 10 am–4 pm; Thursday, 10 am–8 pm; Sunday, noon–6 pm
Closed Mondays, New Year’s Day, Independence Day, Thanksgiving Day, Christmas Eve, and Christmas Day.
On the first Thursday of every month, daytime admittance ends at 5 pm due to the regularly scheduled Phillips after 5 events. Admission after 5 pm is restricted to members and Phillips after 5 ticket holders.
Connect:
# # #
The Phillips Collection1600 21st Street, NWWashington, DC 20009 |

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MFA Open for Entry

Now Open for Entry!
THE FALL MEMBER SHOW – DEADLINE AUGUST 9
STROKES OF GENIUS – DEADLINE SEPTEMBER 1
SMALL WONDERS – DEADLINE SEPTEMBER 22

 

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OAS: Artaxiomas

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NGA: Mark Rothko: The Works on Paper, online resource

The National Gallery of Art maintains the largest public collection of art by the American artist Mark Rothko (1903–1970). Following the publication in 1998 of its landmark catalogue raisonné of Rothko’s works on canvas, the Gallery embarked on research into Rothko’s works on paper. The culmination of this effort will be an online resource compiling the drawings, watercolors, and paintings on paper. Expected to be launched to the public in phases between 2016 and 2018, the online resource will be followed in 2020 by a two-volume catalogue raisonné print publication.

Mark Rothko: The Works on Paper will document and illustrate some 2,600 works by Rothko located in public and private collections worldwide. Demonstrating the range of the artist’s creative achievements, the online and print publications will be the definitive scholarly references for Rothko’s works on paper, an oeuvre largely unknown to art specialists and the public alike. The Gallery continues to seek information about drawings, watercolors, and paintings on paper to be considered for inclusion in the catalogue raisonné.

Anyone with information regarding works on paper by Rothko should contact Laili Nasr by e-mail at l-nasr@nga.gov or by phone at (202) 842-6779.

For more information

visit: http://www.nga.gov/content/ngaweb/press/2016/rothko.html

 

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Summer Calendar of Events at National Museum of Women in the Arts

Programs and Exhibitions from June–August 2016

The National Museum of Women in the Arts (NMWA) is pleased to present a wide range of exhibitions and programs, including artist talks, workshops and gallery talks related to the exhibition She Who Tells a Story: Women Photographers from Iran and the Arab World.  In addition, the museum’s Women, Arts and Social Change initiative’s Culture Capital program partnerships include the Capital Fringe and March on Washington Film Festivals.

The first Sunday of every month is a Community Day, with free admission to the public. The information below is current as of April 2016. To find out more about programs at NMWA, visit the online calendar.

ARTIST TALKS

Artists in Conversation: She Who Tells a Story

Friday, June 10, 6:30–9 p.m.

Join artist Rania Matar and guests in conversation over light refreshments. Matar discusses her background, artistic process and philosophy, and works featured in the She Who Tells a Story exhibition during this informal and intimate in-gallery experience. Ample time allows participants to explore the galleries, learn about Matar’s work and engage in small-group conversations. $25 general; $15 members.

Reservations required.

Artists in Conversation: She Who Tells a Story

Wednesday, July 27, 6:30–9 p.m.

Join artists Boushra Almutawakel and Tanya Habjouqa and guests in conversation over light refreshments. Almutawakel and Habjouqa discuss their backgrounds, artistic processes and philosophies, and works featured in She Who Tells a Story during this informal and intimate in-gallery experience. Ample time allows participants to explore the galleries, ask about the artists’ work and engage in small-group conversations. $25 general; $15 members. Reservations required.

CULTURE CAPITAL PROGRAMS

Homage to Umm Kulthum: Star of the East

Sunday, July 10, 2–5 p.m.

In conjunction with She Who Tells a Story, NMWA presents a half-day of programs and performances honoring Umm Kulthum (Egyptian, ca. 1904–1975), the iconic contralto singer and songwriter. Performances in Arabic from Kulthum’s beloved repertoire are paired with speakers who discuss her impact as an artist and role model. Presented in collaboration with the Middle East Institute with support from the Abu Dhabi Arts and Music Festival. $15 general; $10 members, seniors, students. Reservations required. Tickets on sale April 10 at http://nmwa.org/events/cultural-capital-homage-umm-kulthum.

Capital Fringe Festival: Women of the Fringe

Thursday, July 14, 6 p.m., Saturdays, July 16 and July 23, 12 p.m., and Sundays July 17 and July 24, 12:15 p.m.

The Capital Fringe Festival presents five days of women-focused live performances. Full Festival schedule and list of performances available starting June 20. Reservations recommended. Single tickets cost $17. All audiences must have a Fringe Button. Tickets, Buttons and multi-show passes will be available starting June 20 at the Capital Fringe website or by calling 866-811-4111 and pre-show at the door during performance days. Doors open 15 minutes before show time.

March on Washington Film Festival: Entertainers and the Civil Rights Movement—Honoring Carmen de Lavallade

Wednesday, July 20, 6–8 p.m.

Poet, essayist and teacher Elizabeth Alexander explores the historic career of dance, theater, film and television phenomenon Carmen de Lavallade in conversation with the groundbreaking artist herself. Get ready for an evening rich in culture, creativity, struggle and remembrance. $5 general. Reservations required. Tickets go on sale May 1. Reserve online athttp://marchonwashingtonfilmfestival.org.

IN THE GALLERIES

Conversation Pieces

Most days, 2 p.m.

Join us for 30-minute “conversation pieces” most days at 2 p.m. These brief experiences spotlight two works on view. Check in at the Information Desk to learn more. Free with admission. No reservations required.

Lunchtime Gallery Talks

Wednesdays, June 1–August 31, 12–12:30 p.m.

These bite-size lunchtime talks are offered most Wednesdays. Museum staff members facilitate interactive conversations, encouraging visitors to look closely and investigate the mediums, techniques and overarching themes of special exhibitions and works from the museum’s collection. Free. No reservations required.

6/1She Who Tells a Story

6/8She Who Tells a Story

6/15: Collection Connections

6/22She Who Tells a Story

6/29She Who Tells a Story

7/6She Who Tells a Story

7/13Alison Saar In Print

7/20: Collection Connections

7/27She Who Tells a Story

8/3: Collection Selections

8/10Alison Saar In Print

8/17: Collection Selections

8/24: Collection Selections

8/31: Collection Selections

Free Community Days

Sundays, June 5, July 3 and August 7, 12–5 p.m.

The first Sunday of every month is a Community Day at NMWA, with free admission to the public. Take this opportunity to explore current exhibitions as well as the museum’s collection. For a complete schedule, visit the online calendar. Free. No reservations required.

A Picture Plus a Thousand Words: Aligning Art with Stories

Sundays, June 5 and July 3, 1–3 p.m., Tuesdays, June 14 and July 26, 6–8 p.m.

In Arabic, the word rawiya means “she who tells a story.” This series connects short stories by women from Iran and the Arab world with individual photographs in She Who Tells a Story. For each session, participants will read a short story, examine a selected photograph and read a short non-fiction article that grounds the creative works in lived realities. Events will feature artwork introductions by NMWA educators and facilitated discussions. Program in conjunction with The Alignist. Free. Reservations required. For additional information, visit the online calendar.

6/5: On War and Women

6/14: Life in Conflict

7/3: On Motherhood

7/26: Desires and Dreams

Tour: Collection Mash-Up

Sunday, August 7, 1–2 p.m.

Attend a free, docent-led drop-in tour exploring the museum’s collection. Free. No reservations required.

WORKSHOPS

Firsthand Experiences

Saturdays, June 11 and July 16, 10 a.m.–3 p.m.

Inspired by She Who Tells a Story and its celebration of storytelling and documentation, these workshops explore various expressive techniques—including handwriting, poetry, bookmaking and photography—and provide the tools and time for participants to document and share their own stories. These workshops are designed to instruct and engage audiences 13 and older. Materials and instruction will be provided. $25 general; $15 members, seniors, students. Reservations required.

Teacher Program: Art, Books, and Creativity Institute

Monday–Friday, July 18–22, 2016, 9 a.m.–4 p.m.

Empower and inspire your students through art! Join NMWA’s education staff, a professional book artist, and curriculum and literacy specialists for this intensive and fun week centered on NMWA’s Art, Books, and Creativity (ABC) curriculum. No prior art experience is necessary, and classroom teachers are especially encouraged to apply. Participants receive free art materials for their classrooms and can register for graduate credit through Trinity Washington University in Washington, D.C., for an added fee. Free. For more information and to apply, visit http://nwma.org/learn/educators.

Education programming is made possible by Fred M. Levin and Nancy Livingston, The Shenson Foundation, in memory of Drs. Ben and A. Jess Shenson; Team Freiman at Morgan Stanley; Northern Trust; the Leo Rosner Foundation; Newman’s Own Foundation; and Wells Fargo. Additional support is provided by the William Randolph Hearst Foundation; the Harriet E. McNamee Youth Education Fund; William and Christine Leahy; Sofitel Washington D.C. Lafayette Square; and the Junior League of Washington.

The Women, Arts and Social Change public program initiative is made possible through leadership gifts from Lorna Meyer Calas and Dennis Calas, the MLDauray Arts Initiative, Denise Littlefield Sobel and the Swartz Foundation. Additional support provided by Deborah G. Carstens, Stephanie Sale and Dee Ann McIntyre. FRESH TALK: Carrie Mae Weems presented by RBC Wealth Management. Catalyst is made possible, in part, by the Bernstein Family Foundation.

EXHIBITIONS

She Who Tells a Story: Women Photographers from Iran and the Arab World

April 8–July 31, 2016

In Arabic, the word rawiya means “she who tells a story.” The idea of a woman storyteller is a fitting premise for these photographs made by pioneering women with roots in Iran and the Arab world. Each image tells a poignant story, and each artist offers a vision of the world she has witnessed. The contemporary photographs featured in the exhibition reflect the complexities of unprecedented change. Artists take photographs within urban and rural landscapes and in public and private spaces. They probe ideas about personal identity and vital political issues in their home regions. Their images invite viewers within these areas and far away to explore new cultural landscapes and to confront their own preconceptions. The exhibition includes work by Jananne Al-Ani, Boushra Almutawakel, Gohar Dashti, Rana El Nemr, Lalla Essaydi, Shadi Ghadirian, Tanya Habjouqa, Rula Halawani, Nermine Hammam, Rania Matar, Shirin Neshat and Newsha Tavakolian. Their provocative works range in genre from portraiture to documentary to staged narratives. Through new photography, She Who Tells a Story shifts perspectives and opens a cultural dialogue that begins with art.

This exhibition was organized by the Museum of Fine Arts, Boston.

Presentation of the exhibition at NMWA is made possible through the generous support of an anonymous donor. Additional funding is provided by Marcia and Frank Carlucci, Cindy and Evan Jones, and the Georgia Committee of NMWA.

Priya Pereira: Contemporary Artist Books from India

May 16–November 18, 2016, in the Betty Boyd Dettre Library and Research Center

Open Monday–Friday, 10 a.m.–12 p.m. and 1–5 p.m.

Priya Pereira (b. 1967) is a book artist based in Mumbai, India. Trained as a graphic designer and isolated from other book artists, Pereira began creating artists’ books ten years before she knew that the genre had a name. She has published limited-edition works under the imprint Pixie Bks for the last 22 years, exploring subjects including Indian culture, time and language through creative structures, use of type and hand-drawn images. Pereira’s books are full of word play and whimsy. The artist describes The Book of F as “dotted with ditties that popularize the ‘F’ word without once mentioning the most used and abused word,” and her The Wise Man and His Long Beard represents an Indian folktale through a beard made out of lamp wicks. This exhibition showcases ten of Pereira’s artists’ books.

Alison Saar In Print

June 10–October 2, 2016

Alison Saar (b. 1956) uses dynamic printmaking techniques to explore themes of feminine, racial and cultural identity. The artist’s hand-wrought woodcuts combine strong color and bold forms. Her central figures hold evocative objects—snakes, knives, fry pans, plants or bottles—that allude to a range of myth, lore and legend. Drawn from both NMWA’s and private collections, the exhibition also brings to focus how Saar’s printmaking practice relates to her sculptural work.

Alison Saar In Print, presented in the Teresa Lozano Long Gallery of the National Museum of Women in the Arts, is organized by the museum and generously supported by the Louis J. Kuriansky Foundation, Inc. and the members of NMWA.

Wanderer/Wonderer: Pop-Ups by Colette Fu

October 14, 2016–February 26, 2017

Colette Fu is renowned for her immense, sculptural pop-up books. This focus exhibition presents works from her series “Haunted Philadelphia,” inspired by eerie historical sites in her hometown, and “We are Tiger Dragon People,” her visual explorations of the culture in China’s Yunnan Province, her ancestors’ homeland. Fu’s works combine images of landscapes she has explored with elements of fairy tales and folklore. Through engineering feats, she transforms her photographs into oversized pop-ups, some with kinetic elements and blinking lights. Gathered together, Fu’s books form a pop-up fantasy world.

Wanderer/Wonderer: Pop-ups by Colette Fu, presented in the Teresa Lozano Long Gallery of the National Museum of Women in the Arts, is organized by the museum and generously supported by its members.

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Image Credit Lines:
  • Tanya Habjouqa, Untitled, from the series “Women of Gaza,” 2009; Pigment print, 20 x 30 in.; Museum of Fine Arts, Boston; Museum purchase with general funds and the Horace W. Goldsmith Fund for Photography, 2013.567; Photo © 2015 Museum of Fine Arts, Boston
  • Carmen de Lavallade: Photo by Julieta Cervantes
  • Gohar Dashti, Untitled #5, from the series “Today’s Life and War,” 2008, Chromogenic print, 27 5/8 x 41 3/8 in.; Courtesy of the artist, Azita Bina, and Robert Klein Gallery, Boston; © Gohar Dashti
  • Photo by Laura Hoffman
  • Boushra Almutawakel, Untitled (from “The Hijab” series), 2001; Chromogenic print, 47 1/4 x 39 3/8 in.; Courtesy of the artist and the Howard Greenberg Gallery
  • Priya Pereira, Puzzle de Brasil, 2001; Artist’s book published by Pixie Bks; Image courtesy of the National Museum of Women in the Arts
  • Alison Saar, Snake Man, 1994; Woodcut and lithograph on paper, 33 1/2 x 42 1/2 in.; National Museum of Women in the Arts, Gift of Steven Scott, Baltimore, in honor of the artist; Photo by Lee Stalsworth
  • Colette Fu, Dai Food, 2008–12; Ink on paper with cloth, 22 x 32 x 25 in.; National Museum of Women in the Arts; Museum purchase with funds donated by Book Arts Fellows
National Museum of Women in the Arts

1250 New York Avenue, NW

Washington, DC 20005

 

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Wm. Merritt Chase at the Phillips this Summer

THE PHILLIPS COLLECTION PRESENTS A LANDMARK RETROSPECTIVE OF AMERICAN ARTIST
WILLIAM MERRITT CHASE

The first in more than 30 years, William Merritt Chase: A Retrospective offers a fresh appraisal of the artist’s career and contributions to American art.
William Merritt Chase: A Retrospective is on view at the Phillips June 4–September 11, 2016.

This summer, The Phillips Collection will present a major international exhibition on American artist William Merritt Chase (1849–1916). A renowned figure in the international art circles of the late 19th and early 20th centuries, Chase was a brilliant observer of contemporary life, an innovative painter, and an influential teacher. Marking the centennial of his death, this retrospective—the first in more than three decades—explores the interrelationships in Chase’s work across subject and media. William Merritt Chase: A Retrospective is on view at the Phillips beginning June 4, 2016.

Co-organized by The Phillips Collection, the Museum of Fine Arts, Boston, Fondazione Musei Civici Venezia, and the Terra Foundation for American Art, William Merritt Chase brings together more than 75 of the artist’s best works from all phases of his four-decade-long career, from portraits and figurative paintings, to urban park scenes, domestic interiors, still lifes, and landscapes. The exhibition also includes several fine examples of Chase’s pastels to highlight the integral role the medium played within his oeuvre. A co-founder of the progressive Society of American Painters in Pastel, Chase was a leader in the late 19th-century revival of pastel painting and one of its most innovative practitioners. Throughout his career, Chase experimented with pastel alongside his work in oil, translating the painterly qualities of wet color to the velvety effects of dry pigment.
William Merritt Chase sheds new light on the artist’s aesthetic philosophy, artistic practice, and working methods, while positioning his work within the vibrant international cultural climate at the turn of the 20th century. Drawing on significant new scholarship in the field since the last Chase retrospective in 1983, this exhibition provides a fresh appraisal of the artist and his important contribution to the history of American art. The exhibition also focuses attention on Chase’s role as a highly influential and devoted teacher, who trained and inspired the next generation of American artists, including Marsden Hartley, Edward Hopper, Georgia O’Keeffe, and Joseph Stella, who feature prominently in the Phillips’s permanent collection.
“Today, as the history of American art is being rewritten through 21st-century eyes, long overlooked but revolutionary figures like Chase deserve renewed attention,” explains Curator Elsa Smithgall. “While the artist’s so-called ‘eclecticism’ has made it a challenge for scholars to fit him into a particular art movement, this exhibition firmly redresses that position by asserting that Chase’s stylistic experimentation is one of his strongest virtues. The Phillips has celebrated American art and artists since it opened its doors to the public in 1921, and this in-depth presentation of Chase enriches our understanding of his vital place within the history of American art and his lasting legacy in the art of our time.”
This exhibition will be the first Chase retrospective to be exhibited abroad, traveling to the International Gallery of Modern Art, Venice, Italy, in February 2017 after appearing at the Museum of Fine Arts, Boston, October 2016–January 2017.
“William Merritt Chase once said, ‘Art has become international… the best of art today belongs to all countries combined and localization has been entirely done away with,’ and this curatorial team’s rigorous intellectual study is aptly driven by an international approach,” says Director Dorothy Kosinski. “A growing interest in transnational approaches to historical American art makes it a timely moment for a major Chase exhibition and an unprecedented opportunity to introduce international audiences to a preeminent American artist who is largely unknown outside the United States.”
CATALOGUE
William Merritt Chase: A Retrospective is accompanied by a fully-illustrated catalogue, published by The Phillips Collection in association with Yale University Press. Essays by the exhibition’s four curators: The Phillips Collection Curator Elsa Smithgall, Museum of Fine Arts, Boston Croll Senior Curator of American Paintings Erica E. Hirshler, Terra Foundation for American Art Curator Katherine M. Bourguignon, and independent scholar for the Fondazione Musei Civici di Venezia Giovanna Ginex. The catalogue also includes an essay by the prominent Americanist John Davis, executive director for Europe and global academic programs, Terra Foundation for American Art, and a foreword by D. Frederick Baker, director of the Chase Catalogue Raisonné Project.
SPONSORS
The exhibition is organized by The Phillips Collection, the Museum of Fine Arts, Boston, the Fondazione Musei Civici di Venezia, Venice, and the Terra Foundation for American Art.
With the generous support of the Terra Foundation for American Art
Additional support is provided by The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, Share Fund, and the MARPAT Foundation.
Additional in-kind support is provided by 

 

ABOUT THE PHILLIPS COLLECTION

The Phillips Collection, America’s first museum of Modern art, is one of the world’s most distinguished collections of Impressionist and Modern American and European art. Stressing the continuity between art of the past and present, it offers a strikingly original and experimental approach to Modern art by combining works of different nationalities and periods in displays that change frequently. The setting is similarly unconventional, featuring small rooms, a domestic scale, and a personal atmosphere. Artists represented in the collection include Pierre-Auguste Renoir, Vincent van Gogh, Edgar Degas, Henri Matisse, Pierre Bonnard, Paul Cézanne, Pablo Picasso, Paul Klee, Claude Monet, Honoré Daumier, Georgia O’Keeffe, Arthur Dove, Mark Rothko, Milton Avery, Jacob Lawrence, and Richard Diebenkorn, among others. The permanent collection has grown to include more than 1,000 photographs, many by American photographers Berenice Abbott, Esther Bubley, and Bruce Davidson, and works by contemporary artists such as Anslem Kiefer, Wolfgang Laib, Whitfield Lovell, and Leo Villareal. The Phillips Collection regularly organizes acclaimed special exhibitions, many of which travel internationally. The Intersections series features projects by contemporary artists responding to art and spaces in the museum. The Phillips also produces award-winning education programs for K–12 teachers and students, as well as for adults. The University of Maryland Center for Art and Knowledge at The Phillips Collection is the museum’s nexus for academic work, scholarly exchange, and interdisciplinary collaborations. Since 1941, the museum has hosted Sunday Concerts in its wood-paneled Music Room. The Phillips Collection is a private, non-government museum, supported primarily by donations.

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Bethesda Fine Art

JIM DINE
The New Building, 2013
lithograph
64″ x 48″
GENE DAVIS 

Tarzan from Portfolio Series I, 1969
silkscreen on canvas on board
24″ x 30″
SONIA DELAUNEY
Untitled #2, 1970
color etching
26” x 19.8”
KENNETH VICTOR YOUNG
Untitled, c 1968
acrylic on canvas
37″ x 44″
ROGER PHILLIPS
In & Out, 1997-2007
stainless steel and painted aluminum
78″ x 102″ x 102″
ALEXANDER CALDER
Untitled
lithograph
21.5″ x 30″
DAN YELLOW KUHNE
Untitled (2), c 1970
watercolor on paper
22″ x 30″
VIEW THESE AND OTHER WORKS AT
VISIT US ON
OPEN TUESDAY-THURSDAY 11-3, AND BY APPOINTMENT 

Bethesda Fine Art
4931 Cordell Avenue, Bethesda, Maryland

 

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National Gallery of Art Library

Artists’ materials ranging from art instruction manuals to trade catalogs enable scholars and conservators to better understand the physical attributes of the artworks they study and preserve. In the Library: The Intersection of Commerce and Instruction in Art presents approximately 50 examples of trade literature, from handwritten and early printed manuals containing formulas for various dyes, varnishes, and inks to illustrated trade catalogs and instruction manuals on techniques. Organized by the National Gallery of Art Library, this exhibition is on view from February 22 June 3, 2016, in the East Building, Ground Floor, Study Center.

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NGA/CORCORAN

NGA Corcoran
Highlighting a selection of photographs donated in honor of the 25th anniversary of the Gallery’s collection of photographs, this exhibition brings together an exquisite group of gifts that range from innovative photographs made in the earliest years of the medium’s history to key works by important 20th-century artists and contemporary pieces that examine the ways in which photography continues to shape our experience of the modern world. (Deborah Luster, Eddie M. ‘Fat’ CoCo, Transylvania, Louisiana, March 8, 2002, National Gallery of Art, Washington, Gift of Julia J. Norrell, in Honor of Claude Simard and the 25th Anniversary of Photography at the National Gallery of Art, Copyright Deborah Luster, Courtesy of the artist and Jack Shainman Gallery, New York) 

Through March 13
West Building, Ground Floor
www.nga.gov/content/ngaweb/exhibitions/2015/celebrating-photography.html

 

Best known for his photo-based paintings on Celotex, a textured insulation material, and wooden sculptures using Formica as a laminate, Artschwager depicts two interlocked pianos that reference synthetic cubism, surrealism, toys, concert halls, cartoons, and real objects. Reflecting his training with the purist painter Amedee Ozenfant and his work as a cabinetmaker, this work was planned in several drawings and a collage from 1963 to 1965, but only executed in 2011 under the artist’s supervision. (Image: National Gallery of Art, Washington, Gift of the Collectors Committee) 

East Building Mezzanine
www.nga.gov/content/ngaweb/Collection/art-object-page.161795.html

 

LECTURE AND BOOK SIGNING
Procession: The Art of Norman Lewis
Exhibition curator Ruth Fine presents an overview of the approximately 130 works from the early 1930s through the late 1970s featured in the exhibitions Procession: The Art of Norman Lewis andStone and Metal: Lithographs and Etchings by Norman Lewis on view at the Pennsylvania Academy of the Fine Arts, Philadelphia. A book signing of Procession: The Art of Norman Lewis follows. (Image: Norman Lewis, [Untitled] Alabama, 1967, National Gallery of Art, Washington, Gift of the Collectors Committee) 

February 14, 2:00
East Building Auditorium
www.nga.gov/content/ngaweb/calendar/lectures/lectures-signings/procession-the-art-of-norman-lewis.html

 

FILM SERIES
Athens Today: New Greek Cinema
The cinema of Greece has been experiencing an artistic resurgence through a new generation of filmmakers experimenting with narrative forms and enriching traditional genres with fanciful and absurdist motifs. This series is screened in celebration of the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World. Special thanks to James Demetro, New York City Greek Film Festival, Anthony Quinn Foundation, Hellenic American Chamber of Commerce, National Hellenic Society, and the Hellenic American Cultural Foundation. (Film still from Xenia [Panos H. Koutras, 2014, DCP, subtitles, 134 minutes] screening on February 7 at 4:00. Image courtesy Strand Releasing) 

Through February 28
See individual films for dates and times
East Building Auditorium
www.nga.gov/content/ngaweb/calendar/film-programs/Athens-Today.html

 

The Gallery Shops offer a wide variety of books, posters, accessories, and decorative items that celebrate the 25th anniversary of the Gallery’s collection of photographs. (Image: Hold Still: A Memoir with Photographs, written and signed by Sally Mann) 

shop.nga.gov/category/nga-photography/exhibitions/celebrating-25-years-of-photography-at-the-national-gallery-of-art-1990-2015/1.html

 

Abstract and abstract/figurative works by the Philadelphia painter share an affinity with the Washington Color School. (Image: Elizabeth Osborne, Audrey in Profile, 2014, James A. Michener Art Museum. Museum purchase funded by Bonnie O’Boyle and the Mandel Society for Art Acquisitions and partial gift from Locks Gallery.) 

Through February 26

Luther W. Brady Art Gallery
Media and Public Affairs Building
805 21st Street NW
2nd Floor

 

NATIONAL GALLERY OF ART
6th Street & Constitution Avenue NW
Washington, DC 20565 | Map
Hours: Mon-Sat 10am-5pm, Sun 11am-6pm
Admission is always free 

www.nga.gov
Calendar Exhibitions The Collection Forward to a Friend

 

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Phillips and University of Maryland Form Partnership

THE PHILLIPS COLLECTION AND UNIVERSITY OF MARYLAND FORM DYNAMIC PARTNERSHIP TO TRANSFORM SCHOLARSHIP AND INNOVATION IN THE ARTS

Collaboration includes new curriculum, experimental and community-focused education programs,launch of The University of Maryland Center for Art and Knowledge at The Phillips Collection, and a new gallery and open storage facility in Prince George’s County

The Phillips Collection’s Director Dorothy Kosinski and University of Maryland President Wallace D. Loh announced today a bold partnership between the two institutions with a shared vision to dramatically transform scholarship and innovation in the arts.

Layered with rich opportunities to collaborate, the agreement is ambitious, entrepreneurial, and risk-supportive, which are considered essential qualities in today’s competitive arts and academic environments. Together, The Phillips Collection will expand its education programs, reach new and diverse audiences, and pursue key initiatives that align with the museum’s strategic mission as an “experiment station” and institution for learning. At the same time, UMD will grow its established scholarship and academic programs within the arts, provide unparalleled research and education opportunities for UMD faculty and students, and expand its footprint in the nation’s capital.

“This is a pivotal moment in Phillips history. As we look toward the museum’s 100th anniversary in 2021, we intend to redefine its role within the cultural community locally and globally,” says Kosinski. “Together with the University of Maryland—one of the country’s leading institutions for research and innovation—we can reach new audiences, disrupt conventional thinking, and inspire new heights of achievement and impact.”

“This remarkable partnership fulfills a long-time dream for this campus,” said University of Maryland President Wallace D. Loh. “Not only does it provide access to this priceless collection, but it brings a new vigor to our arts education, and to the entire campus.  We are genuinely a STEAM university—Science-Technology-Engineering-Arts-Math.”

A TRANSFORMATIVE COLLABORATION

This partnership, rooted in shared values and a commitment to arts integration and innovation, will provide rich and meaningful opportunities for education, innovation, research, entertainment, interdisciplinary collaboration, and exploration.  University faculty and programming will complement the museum’s expertise in scholarship, exhibitions, and publications, and will serve as a partner in the exploration of topics related to the museum’s collections and programs.

With long-term goals in mind and a forward-looking entrepreneurial spirit, this six-year partnership—through investment from both institutions—will position the Phillips and UMD to achieve the goals articulated in their strategic plans while providing rich and meaningful opportunities for local and global audiences.

To increase greater public viewing to more of the museum’s exceptional 4000-piece collection, the Phillips and UMD plan to develop a new gallery and open storage facility in Prince George’s County. The new public facility will serve as a cutting-edge, modern and contemporary art center, hub for experimentation and innovation, and an artistic laboratory for a global community. This project would spark county and statewide economic development and dramatically expand outreach to students, faculty, the local community and a range of national and international visitors.

UMD will also now be the primary presenter of all Intersections exhibitions at The Phillips Collection. Intersections is the Phillips’s series of contemporary art exhibitions that invites artists of today to explore the intriguing intersections between old and new traditions, modern and contemporary art practices, and museum spaces and artistic interventions. This partnership builds on UMD’s already sterling reputation for building the future of the arts—from world-class performances at The Clarice Smith Performing Arts Center to cutting-edge training in arts management at the DeVos Institute.

UNIVERSITY OF MARYLAND CENTER FOR ART AND KNOWLEDGE AT THE PHILLIPS COLLECTION

The University of Maryland Center for Art and Knowledge at The Phillips Collection is the expansion of the Center for the Study of Modern Art—the museum’s nexus for academic work, scholarly exchange, and innovative interdisciplinary collaborations. Key collaborations under the newly named Center will include:

  • Expanding on and developing new arts curriculum and extended studies courses and seminars focused on art, art history, arts management, museum studies, cultural diplomacy, conservation and interdisciplinary studies.
  • Supporting two or more postdoctoral fellowships at the Phillips annually, with research conducted in the areas of modern art, conservation, music, and cultural diplomacy.
  • Partnering on the Phillips’s International Forum Weekend, which, since 2009, has brought together leading art collectors and committed philanthropists from around the world to engage with artists, art professionals, and diplomatic, Congressional, and Administration leaders to explore topics in modern and contemporary art in a global context.
  • Co-publishing the UMD-Phillips Book Prize, a biennial book prize for an unpublished manuscript presenting new research in modern or contemporary art from 1780 to the present.
  • Co-presenting a new music series at the Phillips, developed in partnership between the Phillips and UMD’s School of Music.
  • Enhancing programming for Creative Voices DC and other public programs, which includes expanding programming and academic offerings to UMD’s campus, including public lectures, college courses, symposia, interdisciplinary projects and artist talks.
  • Digitizing of the museum’s archives of 9,500 scholarly books, exhibition catalogues, and correspondence, to preserve the archives in perpetuity and make valuable educational resources easily accessible to scholars, researchers and students around the world.

“By providing new opportunities for sustained inquiry, this partnership will enable the Phillips to deepen its educational mission and become internationally recognized as the leading resource for the study and appreciation of modern and contemporary art, while also enhancing the University of Maryland’s reputation as a leading institution for the arts and a trailblazer for the STEM-to-STEAM movement nationally and globally,” says Board Chairman George Vradenburg. “Picasso purportedly said of computers, ‘They are useless.  They can only give you answers.’  Our increasing visual world demands that we add arts to STEM curriculum, so we can ask—and answer—the right questions. We believe this type of provocative and inclusive conversation can only arise from a collection of such specific and singular identity as the Phillips’s.”

As part of the new partnership, UMD students, faculty, staff and Alumni Association members will received free admission to the Phillips, and have access to the collection, facilities, and museum staff for research and educational purposes. The Phillips will also offer internships for UMD graduate and undergraduate students in interdisciplinary fields.

The partnership between The Phillips Collection and the University of Maryland will serve as a catalyst for an even more dynamic use of the museum’s permanent collection and for the development of new educational programs across disciplines and audiences.

ABOUT THE PHILLIPS COLLECTION

The Phillips Collection is one of the world’s most distinguished collections of Impressionist and Modern American and European art. Stressing the continuity between art of the past and present, it offers a strikingly original and experimental approach to modern art by combining works of different nationalities and periods in displays that change frequently. Artists represented in the collection include Pierre-Auguste Renoir, Vincent van Gogh, Edgar Degas, Henri Matisse, Pierre Bonnard, Paul Cézanne, Pablo Picasso, Honoré Daumier, Georgia O’Keeffe, Mark Rothko, Jacob Lawrence, and Richard Diebenkorn, among others. The Phillips Collection, America’s first museum of modern art, has an active collecting program and regularly organizes acclaimed special exhibitions, many of which travel internationally. The Phillips also produces award-winning education programs for K–12 teachers and students, as well as for adults. The museum’s Center for the Study of Modern Art explores new ways of thinking about art and the nature of creativity, through artist visits and lectures, and provides a forum for scholars through courses, post-doctoral fellowships, and internships. Since 1941, the museum has hosted Sunday Concerts in its wood-paneled Music Room. The Phillips Collection is a private, non-government museum, supported primarily by donations.

ABOUT THE UNIVERSITY OF MARYLAND

The University of Maryland is the state’s flagship university and one of the nation’s preeminent public research universities. A global leader in research, entrepreneurship and innovation, the university is home to more than 37,000 students, 9,000 faculty and staff, and 250 academic programs. Its faculty includes three Nobel laureates, three Pulitzer Prize winners, 47 members of the national academies and scores of Fulbright scholars. The institution has a $1.8 billion operating budget, secures $500 million annually in external research funding and recently completed a $1 billion fundraising campaign. For more information about the University of Maryland, visitwww.umd.edu.

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Vermeer Loan Celebrates 20th Anniversary of NGA Retrospective

The Rijksmuseum in Amsterdam has lent one of its great treasures—Johannes Vermeer’s Woman in Blue Reading a Letter (c. 1663)—to the National Gallery of Art in Washington, DC, to celebrate the 20th anniversary of the landmark Johannes Vermeer exhibition, which opened here in November 1995 before traveling to the Royal Cabinet of Paintings Mauritshuis, The Hague, in March 1996. Woman in Blue Reading a Letter will on view through December 1, 2016, in the Dutch and Flemish Cabinet Galleries alongside Vermeer paintings from the Gallery’s own collection.

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NGA Acquires Bingham’s “The Jolly Flatboatmen”

 

George Caleb Bingham American (1811 – 1879) The Jolly Flatboatmen, 1846 oil on canvas 96.8 x 123.2 cm (38 1/8 x 48 ½ in.) National Gallery of Art, Washington Patrons’ Permanent Fund 2015.18.1

George Caleb Bingham’s masterpiece, The Jolly Flatboatmen (1846)—considered one of the greatest American genre paintings ever made—has entered the collection of the National Gallery of Art, Washington. Known as “the Missouri artist,” Bingham was fascinated with American frontier life and is particularly well known for his paintings of trappers and boatmen along the Mississippi and Missouri rivers. The purchase of the painting from the collection of the Richard and Jane Manoogian Foundation was made possible by the Gallery’s Patrons’ Permanent Fund.

The Jolly Flatboatmen is among the first distinctly American paintings that capture the allure of Western expansion during the mid-19th century,” said Earl A. Powell, III, director, National Gallery of Art. “The American masterpiece has had a regular presence at the Gallery since 1956, thanks to the generosity of its past owners, the Pell family and Richard Manoogian. It joins two other outstanding paintings—Mississippi Boatman (1850) and Cottage Scenery (1845)—and two works on paper by Bingham in the Gallery’s collection.”

The painting was also featured in two exhibitions: American Paintings from the Manoogian Collection at the National Gallery of Art in 1989, which traveled to San Francisco, New York, and Detroit, and George Caleb Bingham at the Saint Louis Museum of Art and the Gallery in 1990.

Born in Virginia in 1811 and raised in Missouri, Bingham began his career as a portrait painter and was largely self-taught. It was not until about 1845 that he began painting his most notable works—genre scenes featuring a wide range of colorful characters that lived and worked on the Mississippi and Missouri rivers. These lively compositions remain among the most important portrayals of life at the gateway to the Western frontier.

In The Jolly Flatboatmen, Bingham placed his central dancing figure at the apex of a triangular composition. On either side of the dancer, a fiddler plays a tune while another boatman keeps time on a frying pan and the rest of the men lounge on the deck as the boat floats downriver. In the foreground, Bingham included several remarkable still-life elements: a shirt drying in the sun, a coonskin, and a coiled rope. By 1846, when Bingham completed this painting, flatboats were quickly being replaced by steam-powered vessels that could haul freight at significantly faster speeds.

The American Art Union, based in New York City, was instrumental in Bingham’s artistic career. This organization provided artists not only exhibition space, but also helped to disseminate their art to a broader public. In 1846, the Union purchased The Jolly Flatboatmen and included the work in its annual raffle. The painting was awarded to Benjamin van Schaick, a grocer living in New York. Bingham’s spirited river scene became wildly popular through the circulation of printed reproductions, including 10,000 mezzotints of the painting distributed by The American Art Union to its members in 1847 and two lithographs produced by Currier & Ives in 1867 and 1870.

Hoping to profit from the original painting’s popularity, Bingham completed two additional versions on the theme. The first, Jolly Flatboatmen in Port (1857), now at the Saint Louis Art Museum, repeats the triangular composition with additional figures. The second version, The Jolly Flatboatmen (1877–78), currently in the collection of the Terra Foundation for American Art, Chicago, is a smaller painting with just seven figures. However, the original composition of The Jolly Flatboatmen remains Bingham’s best-known work.

After disappearing from view for more than a century, The Jolly Flatboatmen was purchased by William Pell sometime prior to 1954 when it was exhibited at the Saint Louis Art Museum. It remained in the collection of the Pell family and the Pell Family Trust until Richard A. Manoogian purchased the painting in 1986.

National Gallery of Art’s American Paintings Collection

Today the National Gallery of Art’s collection of some 1,400 American paintings from the 18th to the early 20th centuries represents the largest holding of any school in the Gallery and is among the top collections in the country. It includes works by nearly every important figure in American painting and many of these artists’ greatest masterpieces, from John Singleton Copley’s Watson and the Shark (1778), Rembrandt Peale’s Rubens Peale with a Geranium (1801), and Thomas Cole’s four-part allegory, The Voyage of Life (1842), to George Inness’s The Lackawanna Valley(c. 1856), Winslow Homer’s Breezing Up (A Fair Wind) (1873–1876), and George Bellows’s Both Members of This Club (1909).

The collection also includes George Catlin’s Indian paintings, donated by Paul Mellon, and American folk art from the collection of Edgar William and Bernice Chrysler Garbisch. Both gifts total more than 600 paintings, representing more than one-third of the American paintings collection. The recent acquisition of some 226 works from the collection of the former Corcoran Gallery of Art has further enhanced the Gallery’s holdings, with outstanding works such as Albert Bierstadt’s The Last of the Buffalo (1888), Frederic Edwin Church’s Niagara (1857), and Edward Hopper’s Ground Swell (1939), plus important works by African Americans, including Aaron Douglas’s Into Bondage (1936), genre paintings, and the Gallery’s first work by Cecilia Beaux.

 

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In Memory of Norman Parish, 1937-2013

Galleries magazine will greatly miss our longtime friend Norman Parish.

In Memory of Norman Parish

Tuesday, July 16, 2013
Posted by: Alumni Relations

Norman Parish (BFA 1960), a painter who opened an art gallery in Washington that spotlighted African American artists at a time when few other galleries concentrated on showing their work, died July 8 at his home in Germantown. He was 75.
He had a brain tumor, his son Norman Parish III said.
Early in his career, Mr. Parish was part of a politically active group of black artists in Chicago. He continued painting after coming to Washington in 1988 to take a job with an environmental company as a computer graphics designer.
With a new artistic focus on lush landscapes inspired by his travels through Western Maryland, Mr. Parish attempted to exhibit and sell his work in local galleries.
“While people generally seemed to like my paintings, no one would show them,” he told The Washington Post in 1996. “Finally, someone told me I should open my own gallery and exhibit my work. I rejected the idea at first. Then I decided it wasn’t so bad and went into business.”
He opened the Parish Gallery in Georgetown in 1991. It became one of the country’s best-known black-owned art galleries, with a focus on works by African Americans and other artists of what is known as the African diaspora.
Mr. Parish gave himself five years to make the gallery a success. Within that time, he was able to give up his day job in computers to devote himself to the gallery, which he operated with his wife, Gwen. After 22 years, the Parish Gallery is still open, now with an exhibition of Mr. Parish’s own paintings.
“At the time, it was unprecedented for an African American to have a gallery in Georgetown,” Juanita Hardy, executive director of the nonprofit arts promotion group Cultural D.C., told The Post last month.
Over the years, Mr. Parish showed the work of more than 170 artists, including such well-known figures as Sam Gilliam, Richard Mayhew, Lou Stovall, E.J. Montgomery and Wadsworth Jarrell.
“He was well-respected nationally,” Jarrell, who met Mr. Parish when they were students at the Art Institute of Chicago in the 1950s, said Tuesday in an interview. “There will definitely be a void for African American artists because of the number of artists he showed. He gave everybody a chance.”
Norman Parish Jr. was born Aug. 26, 1937, in New Orleans. He grew up in Chicago and was a 1960 graduate of the Art Institute of Chicago, where one of his teachers was painter and illustrator LeRoy Neiman, who died last year.
Mr. Parish occasionally painted abstract works, but more often he worked in what he called “stylized realism.” His paintings often have bold colors, with vivid greens, oranges and aquamarine blues. He uses impressionistic and collage-like qualities without abandoning the recognizable, three-dimensional world.
In 1967, Mr. Parish was one of several artists who contributed to the “Wall of Respect,” a mural on the South Side of Chicago that showed images of African American achievement. The building on which the mural was painted was razed in 1973.
In recent years, Mr. Parish turned to painting scenes drawn from his early childhood memories of New Orleans. His artwork is in museums in Chicago and Alabama and in many private and corporate collections.
His first marriage, to the former Shirley King, ended in divorce. Survivors include Gwen Burkett Parish, his longtime partner whom he married eight years ago, of Germantown; three children from his first marriage, Norman Parish III of Oak Park, Ill., Kimberley Parish Perkins of Arlington, Tex., and Malcolm Muhammad of Chicago; his 101-year-old mother, Vierian Parish of Homewood, Ill.; three sisters; one brother; and five grandchildren.
“I wanted to show high-quality art that had been overlooked,” Mr. Parish told The Post in 1996, describing his goal in opening the gallery. “I wanted to give solo shows to people who deserved one but had never had the opportunity.”
There will be a memorial in Chicago for Norman Parish from 3 p.m-6 p.m. on Aug.31 at the ETA theater, 7558 South Chicago.  Art Institute alums Richard Hunt (BAE 1957) and Wadsworth Jarrell (BFA 1958) are among the speakers at the event.

from mysaic, School of the Art Institute of Chicago.

His obituary is published in the Washington Post.

 

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ARTS ON THE BLOCK


For teens in and around Montgomery County, MD who are passionate about art, ARTS ON THE BLOCK is a place to learn about the world of art, the world of work, the community, and themselves. It is a place to make new friends, make art for real clients, and make plans for successful futures.

For lovers of art and others passionate about supporting the work of talented young people, ARTS ON THE BLOCK is a source of beautiful handcrafted artwork from small decorative objects to vast public installations in mosaic and other media.

ARTS ON THE BLOCK empowers creative youth to imagine and shape fulfilling futures and contribute to the quality of life of their communities!

Arts on the Block achieves its mission by providing paid opportunities to work with established artists/mentors on commissioned artwork and entrepreneurial projects.

WHO is Arts on the Block?

PROGRAM GOALS

GOALS for participants

CONTACT:
11501 Georgia Avenue, Suite 104
Wheaton, MD  20902
240.645.0730
aob@artsontheblock.com

Arts on the Block: where creative young people set their sights on bright futures!

 

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A History of Local Print Collecting from artlineplus.com


Please visit the web address below for a brief history of local print collecting, and an assessment of current trends.

http://www.artlineplus.com/feature/print_collecting_history_wdc.php

We thank artlineplus.com for allowing us to link to this material.

 

 

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Rent Touchstone Gallery Space


Rent our space for your next special event!

NEW, built in August 2010
1600 sq ft  of modern gallery space
Capacity: 125-150 standing, 70 sitting
Street level location  / Handicap accessible
Flooded with natural light  / 15 ft. ceilings with track lighting and fan
Finished concrete floors  / Catering prep area  / 2 modern restrooms

More information, click: http//www.touchstonegallery.com/For_rent.html

 

 

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