Art in Doom:
A Springtime Group Exhibition
February 19 – April 14, 2020
400A Julia Street, New Orleans, Louisiana 70130
Death. Destruction. Ill fate. Art in Doom will feature a range of established artists’ works tackling subjects such as political corruption, religious pathology and the human condition. Cheekily scheduled during the springtime, a time of rebirth and rejuvenation, this exhibition derives its name from the event “Art in Bloom” which occurs at numerous museums nationwide during this time period. This contradictory and ironic exhibition is scheduled to take place 19 February – 18 April 2020 with opening receptions on 7 March and 4 April in conjunction with the Arts District New Orleans’ First Saturday Gallery Openings.
RECENT AND RETROSPECTIVE:
Drawings and Paintings 1967-2020
March 2 – April 27, 2020
Opening Reception: Saturday, March 14th, 6:00 – 8:30pm.
Refreshments and light hors d’oeuvres will be served, with music by Bergamot Rose.
The Galleries at Long Branch
830 Long Branch Lane, Millwood, VA 22646
View the Arcadia gallery for images of the mural
William Woodward: Master Drawings: 1958-2018
Opening Reception: November 20, 2019 · 7pm
2121 Massachusetts Ave NW, Washington, DC 20008
Cosmos Club Website · 202-387-7783
William Woodward: Master Drawings: 1958 – 2018
March 9 – April 13, 2019
Addison/Ripley Fine Art
1670 Wisconsin Avenue NW, Washington, DC 20007
Gallery Hours: Tuesday – Saturday 11am – 5:30pm (& appointment)
Coffee & Conversation with William Woodward and Lenore Miller
Saturday, April 13, 2019 · 11am
William Woodward, Artist, and Lenore Miller, Director of the Brady Gallery at George Washington University, in conversation for the final day of ‘William Woodward: Master Drawings 1958-2018.’
With great pleasure Addison/Ripley Fine Art presents a curated exhibition of Master Drawings by long time Washington virtuoso artist, teacher and raconteur William Woodward.
“Sketching is almost everything. It is the painter’s identity, his style, his conviction, and then color is just a gift to the drawing.”Fernando Botero
This exhibit will include a bountiful selection of drawings, culled from a lifetime of mark making. These drawings, in ink and wash, are broad in their reach of style and subject. Whimsy, close observation and grand, even theatrical renderings abound. Quiet land and sea scapes, explosive polo matches, quaint architecture and classical and expressionistic figures are among the subjects of these works. Drawing, as practiced by Willam Woodward, is as inescapably honest and as fundamentally revealing of the artist’s skill and judgement as it is crucial to its inherent readily discernible quality. Woodward excels here, producing drawing both humble and sumptuous. Whether the subject is stand of trees or the center ring of a circus, Woodward’s touch is precise, certain and infused with the confident air that only a lifetime of making art can bring.
As the artist puts it:
“Some of my drawings are studies for paintings, while others were done for the sheer pleasure of drawing for its own sake. I use all three classical methods of the great masters: Contour, Gesture, and Chiaroscuro (or light and shade drawings.) And I work without preference in all media: pen and ink, pencil, charcoal, and brush.”William Woodward
Without a doubt, on view here at Addison/Ripley is a sampling of the “sheer pleasure” the artist takes in his work.
From winning the invitational award for design of the U.S. silver dollar in 1989 to a First Prize at the 49th Annual Exhibition of Contemporary American Art at the Four Arts Museum in Palm beach, Florida in 1995, to lecturing at the National Gallery of Art, teaching at distinguished schools and universities, and receiving commissions for large murals in such public venues as Sarasota, Florida, Charlottesville, Virginia and Leesburg, Virginia, Woodward has been acclaimed as a teacher, an academic, a public speaker and a dedicated, world renowned artist. His most recent museum exhibition, “The Seven Deadly Sins: A Comedy”, at the Katzen Museum at American University in Washington, DC was an allegorical and aesthetic tour de force.
For more information about the artist and his work, including work not seen in this exhibition, images from the exhibition or to schedule an appointment to view the work, please call Ms. Romy Silverstein at 202-338-5180.
Please click here to open a short form printable PDF invitation for Master Drawings.
Watch an interview with Woodward about his techniques and work in the Press section.
Legacy: William Woodward and Students, 1977-2005
October 5 – 27, 2018
Arts Club of Washington
2017 I (Eye) Street, NW, Washington, DC 20006
Opening Reception: Friday, October 5th 6:30 – 8:30pm
William Woodward’s Lecture The Nature of Style: Tuesday, October 16th at 6:30pm
Review of the Exhibition: William Woodward’s Natural Beauty (L. Jarvik)
Professor Woodward (Emeritus, Fine Arts) taught for more than 35 years in the Department of Fine Arts and Art History at George Washington University. This exhibition honors his legacy with GW graduates and their work reflecting the teaching philosophy espoused by Professor Woodward.
-Curator: Lenore Miller
Director, University Art Galleries and Chief Curator,
The George Washington University
Dean Taylor Drewyer
Sharon Martens Ksander
Marguerite M. McCarth
Mary Anne Warner
The Seven Deadly Sins: A Comedy Oil Paintings and Master Drawings, 1994-2014
September 5 – December 17, 2017
American University Museum at the Katzen Arts Center
4400 Massachusetts Avenue, NW, Washington, DC 20016
For the past two decades, William Woodward has delved into the rich history and aesthetic possibilities of the seven deadly sins. The master drawings and narrative paintings in this exhibition owe a great deal to the films of Federico Fellini, Charlie Chaplin, Buster Keaton the com media dell’arte tradition. The artist tries to imagine, had these directors and actors been painters, how they might have depicted their subjects in whimsical and elusive ways rather than strident and explicit interpretations. In creating The Seven Deadly Sins Woodward is not preaching about sin. Rather, he wanted to paint pictures that no one, including himself, had ever seen before.
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