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September 6 , 2016– February 18, 2017
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: The Kreeger Museum opened in 1994; the first exhibition at the Museum was Sam Gilliam 3-D (1998). John Beardsley, guest curator of that exhibition, wrote of Gilliam: "He is among the nation’s most accomplished abstract painters. Over the decades, he has not wavered in his commitment to a rigorous but exuberant modernist style..."
Simmie Knox: In 1971 David and Carmen Kreeger purchased a work by Simmie Knox which had been shown in the Thirty- Second Biennial Exhibition of Contemporary American Painting at Corcoran Gallery of Art. This early abstract diptych by Knox illustrates his love of color and the movement of color.
Sam Gilliam, Grainings 1998, acrylic on birch plywood
Simmie Knox, A Place: Suspended, 1970, acrylic on canvas
January 21 - February 25, 2017
Clarice Smith, Albert Paley, Triptych, 2016, oil on canvas, forged steel
SMITH | PALEY
October 7 – December 30
Curator: Lenore D. Miller
Director, University Art Galleries and Chief Curator
The George Washington University
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.
“Both artists have something to say about beauty and substance in good design. They honor and study the past, yet continue to innovate toward future projects. The triptych is a unique collaboration that invites the viewer to experience a “gateway” into timeless design”.
Lenore D. Miller, curator
October 26: Creative Power - a provocative round table discussion with Clarice Smith, Renee Fleming, Peggy Cooper Cafritz and Arthur Bloom.
November 9: Susan Stamberg in conversation with Clarice Smith and Albert Paley.
March 13 - May 15, 2015
Gustave de Smet, Young Farmer, 1928 oil on cardboard
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.
Related Program- Thursday, April 16, 6:30-7:30 pm
Art Conversation: Flemish Expressionism in Context
Exhibition curator David Gariff contextualizes Flemish Expressionism with European works in the The Kreeger Museum's permanent collection.
Ukraine Trunk, 2014, Maple
September 16 - December 27, 2014
The Kreeger Museum presents an exhibition of monumental wood sculptures by Emilie Brzezinski. The Lure of the Forest expresses Brzezinski’s fascination with trees and her love and respect for the environment. The Museum pays homage to this masterful sculptor, who for over thirty years has chain sawed and hand-chiseled tree trunks into majestic forms. Each work exhibits beauty, grace, sensuousness, and strength. Her imposing installations are awe-inspiring and express the passion Brzezinski has for her trees. Guest curator Milena Kalinovska.
Generously supported by
William Christenberry, Southern Monument XXII, 1989, steel, wood, paint, mixed media, and red soil
February 20 - July 31, 2014
Guest Curator - Sarah Tanguy
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.From installations, paintings, sculptures and works on paper to video, the selection offers a fresh perspective,not only on individual practices,but also on the collective strength of Washington’s art community - and honors Carmen and David Lloyd Kreeger’s legacy and the Museum’s future.
MINDY WEISEL I NOT NEUTRAL
In Memory of Fran Eizenstat
September 3 - December 28, 2013
This exhibition 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).
MINDY WEISEL | NOT NEUTRAL 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.
The Kreeger Museum gratefully acknowledges the generosity of the following Sponsors for this exhibition: The Abramson Family Foundation, Anonymous, Aon, Stuart Eizenstat In Memory of Fran Eizenstat, and Scott and Loren Kantor.
September 11, 2012 - December 29,2012
On view through April 15, 2013
Sculpture on the Grounds: The Kreeger Museum and Washington Sculptors Group Collaborate, 2011 Invitational with Martha Jackson-Jarvis and Dalya Luttwak
April 5-July 30, 2011
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.
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