BGuthrie Photos: DC -- Donald W. Reynolds Center (SAAM) -- Exhibit: Local Color

DC -- Donald W. Reynolds Center (SAAM) -- Exhibit: Local Color:

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Description of Pictures: Local Color: Washington Painting at Mid-Century
July 4, 2008 – October 13, 2008
On view are 27 large-scale, luminous, abstract paintings from the museum's permanent collection dating from the mid-1950s to the mid-1970s by such Washington D.C.-based artists as Gene Davis, Thomas Downing, Sam Gilliam, Paul Reed, Jacob Kainen, Alma Thomas, Leon Berkowitz, Fel Hines, and Howard Mehring.

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[1] SIPGLC_080713_06.JPG	[2] SIPGLC_080713_12.JPG	[3] SIPGLC_080713_19.JPG
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIPGLC_080713_06.JPG: Local Color Washington Painting at Midcentury: Drawn entirely from the museum's permanent collection, Local Color celebrates a brilliant moment in the history of American art, when our nation's capital was home to one of the most dynamic artistic communities in the country. In the summer of 1965, the Washington Gallery of Modern Art opened an exhibition called Washington Color Painters, featuring six DC artists who would later be known as the Washington Color School. These artists shared a passion for bold color soaked into unprimed canvas; however, they were neither a cohesive group nor the only artists exploring chromatic abstraction in the city. At the time, many other gifted and ambitious painters were gaining local and national recognition for their innovative experiments with color and form. This installation looks beyond the restrictive Color School label in order to explore the astonishing breadth of styles and techniques adopted by nine Washington artists between the mid 1950s and mid 1970s. Among the featured artists are Gene Davis and Paul Reed, boyhood friends who both adopted the popular technique of "staining" as a means to explore the interplay of color and form. Howard Mehring and Thomas Downing are also included here, with vivid geometric paintings that reveal the influence of their teacher, Kenneth Noland. Jacob Kainen -- always a painter, never a stainer -- is represented by several compositions of soft shapes and muted tones, which provide a sharp contrast to the glowing, hard-edge abstractions of Felrath Hines. Kainen's student, Alma Thomas, found inspiration in the myriad textures and patterns of nature outside her window, while Leon Berkowitz sought to replicate the experience of color and light through luminous washes of semi-transparent pigment. And Sam Gilliam brought painting into the space of the viewer with enormous draped canvases and multidimensional sculptures that assimilate the lessons of the stain painters, while boldly redefining the medium itself.
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