To celebrate the opening of the National Museum of African American History and Culture in September 2016, The Kreeger Museum presents selected works from the permanent collection by Sam Gilliam and Simmie Knox. The Museum's relationship with both artists dates back to the early 1970s when David and Carmen Kreeger purchased their works.
Sam Gilliam, Graining, 1998, acrylic on birch plywood
SMITH | PALEY is the first exhibition to feature a collaboration by internationally renowned artists Clarice Smith and Albert Paley. Triptych (2016) was the inspiration for this exhibition. SMITH | PALEY features a selection of Smith's paintings, including a five-panel screen Gallop; and a selection of Paley's sculptures, including maquettes for the project documented in Albert Paley on Park Avenue.
Clarice Smith, Albert Paley, Triptych, 2016, oil on canvas, forged steel
Early modernist art in Flanders was dominated by an interest in expressionism comparable to similar investigations throughout the rest of Europe. The art and artists that represent the achievements of Flemish Expressionism, however, remain largely unknown to audiences outside their native land. Flemish Expressionism | A Modernist Vision, seeks to address this imbalance in European art history. Drawing upon the rich holdings of a remarkable and never-before-exhibited private collection, the exhibition traces the history of Flemish expressionist painting, sculpture, and graphic arts from James Ensor to the School of Sint-Martens-Latem and its successors.
Gustave de Smet, Young Farmer, 1928 oil on cardboard
Emilie Brzezinski, Ukraine Trunk, 2014, Maple
K@20 highlights 14 Washington, DC-area artists: Kendall Buster, William Christenberry, Gene Davis, Sam Gilliam, Tom Green, Ledelle Moe, Michael Platt, Jann Rosen-Queralt, John Ruppert, Jim Sanborn, Jeff Spaulding, Dan Steinhilber, Renee Stout, and Yuriko Yamaguchi. Displaying a broad spectrum of interests and styles, the featured artists have all contributed to the Washington art scene and beyond; each has shown previously at The Kreeger. In recognition of the Museum’s history, guest curator Sarah Tanguy relates the artworks thematically to the building’s architecture and aspects of the collection.
William Christenberry, Southern Monument XXII, 1989, steel, wood, paint, mixed media, and red soil
Mindy Weisel | Not Neutral is comprised of three significant bodies of work that parallel one another in large-scale human and environmental tragedies - Paintings of the Holocaust (ca. 1980), Survival of Beauty (2010), and After Tohoku (2012).
The exhibition reveals in each series the artist's exploration of deep emotion through color, gestural marks, surface tension, and composition. These works are profound expressions of the triumph of beauty, reconciliation, and healing over human tragedy, loss, and destruction.
Dan Steinhilber presents new work in response to the design for The Kreeger Museum as a space for art and musical performance. Inspired by the secret musical life contained within some of the everyday objects and materials with which he has long been fascinated, Steinhilber has set out to teach (as it were) some of these things—a cardboard box, HVAC ventilation shaft, clothing dryer, or an old squeaky desk chair, for example—to play their own sounds.
Dan Steinhilber, Marlin Underground, 2012, found objects, audio equipment, sound, Photo courtesy of the artist)
Each artist responded to the invitational with various interpretations, Luttwak with a site-specific installation, Jackson-Jarvis with a piece originally conceived some years earlier. Jackson-Jarvis' sculpture, created for an exhibition inspired by Thomas Jefferson, was previously displayed in an unmarked slave cemetery located at Montpelier, the plantation home of James and Dolly Madison in Orange, VA. She pays homage to the enduring stories embedded in teh shape and structure with Markings, a narrative of the antebellum south, incorporationg proportions of vernacular architecture and chicken feet.
Dalya Luttak, When Nature Takes Over, 2011. Painted steel, roots and vines
The most comprehensive exhibition of drawings by Tom Wesselmann ever assembled. Many of the 60 pieces on view had never been seen outside the artist's studio in New York.
Tom Wesselmann, Study for Still Life #46, 1964, Pencil and liquitex on paper. 42 x 53 inches Art (c) Estate of Tom Wesselmann/Licensed by VAGA, New York, NY
This exhibition was the culmination of a project initiated by renowned artist Sam Gilliam, bringing together of 20 established artists from the DC community, working in different styles and mediums to create 20 prints in the studios of George Mason University.
Martha Jackson-Jarvis, Spirit Bones II, 2010, Acrylic on oil base monotype, 30" x 22"