Thursday, September 24, 2015

Guided tours now available to view hospital artwork at NIH

Patients and visitors can view and learn about the creative and
 therapeutic artwork that rotates throughout Building 10 in
greater detail by scheduling a walking tour with
volunteer Louisa Howard, right.
As you walk down nearly every hallway of the Clinical Center's Hatfield building, you can admire artwork in the form of landscapes, photography, sculptures and much more. To help patients, their families and staff view the nearly 130 pieces of artwork on display, the Clinical Center Fine Arts Program now offers personalized tours of the artwork. To schedule a tour, call 301-435-5576. 

The guided tour is provided by Louisa Howard, a NIH post baccalaureate intramural research training awardee who is a volunteer in the Fine Arts Program. The program, which began in 1984, has more than 2,000 pieces in its collection and is made possible in part through monetary and artwork donations from artists, staff, visitors and patients. 

Also available is a self-guided walking tour. A brochure of the artwork on display is available at the north entrance hospitality desk, the reception desk near the P1 garage and the patient library on the 7th floor of the Clinical Center in addition to The Children's Inn at NIH and the Edmond J. Safra Family Lodge.

Article courtesy of Clinical Center News, August 2015 Issue.

Monday, March 09, 2015

The Clinical Center Fine Art Program's Walking Tour Brochure is Now Available!

The Clinical Center’s Fine Art Program has collected and displayed art since 1984. A self-guided walking brochure has been created to allow patients, staff and visitors to easily locate and learn about works of art throughout the building.

With this brochure in hand, a person can navigate to the 130 numbered locations of art across six floors of the Hatfield building.

The mission of the Fine Art Program is to pair art with medicine to promote healing in an aesthetically pleasing environment for patients, caregivers and employees. The Clinical Center art collection has more than 2,000 pieces of art including photography, sculptures, paintings, collages, watercolors, textiles, folk art and glass. The works explore imagery from abstract to representational. The collection is made possible in part through donations from artists, patients, staff and visitors.

While some artwork remains permanently on display in the building, there are six galleries which change every eight weeks, often exhibiting local artists. Each piece is available for purchase and 20 percent of the sales from the changing art exhibits benefit the Clinical Center Patient Emergency Fund. Since 1989, these galleries have raised over $75,000 to help patients in need.

Copies of the self-guided walking tour brochure can be found at the hospitality desk near the north entrance, reception desk near the P1 garage, patient library on the 7th floor, The Children’s Inn at NIH and The Edmond J. Safra Family Lodge at NIH. For more information, please contact Lillian Fitzgerald: 301.496.2862, Read more:

Thursday, September 04, 2014

Jimmy Miracle's Silver Triangle now on display at NIH!

Silver Triangle, 2014 
oak, filament, silver leaf, oxidized copper leaf, black velvet
I am interested in the accumulation, repetition, and presentation of ordinary objects, materials, and images. My purpose is to use the physicality of minimally altered forms to question perception and the nature of reality both on a personal and cultural level. I am after a kind of inept monumentality built from repetitious labor and craft with humble materials.  I seek majestic frailty and the curious sacred. Transforming the idioms of pop, minimalism, and conceptual art, I suggest spiritual narratives with ontological possibilities. I am interested in how ordinary materials and humble stories can form meaning and question our presuppositions about how we perceive reality. I employ prayerful, imaginative creation to approach these ontological questions. 

Jimmy Miracle repetitiously weaves mundane objects and forms such as spaghetti strainers, air conditioners, armoires, ladders, octagons, rectangles, and triangles with shimmering filament to elevate them into curious, sacred objects of aesthetic wonder. He was born in Florida in 1982 and received a B.A. in painting from Belhaven College in 2004. He began his art career while living in Brooklyn from 2006-2011, and he has lived in the Washington, DC metro area from 2011-2014. He currently lives in Berlin, Germany. While in New York, he worked as a studio assistant for Jeff Koons and studied drawing at the Art Student’s League of New York. He has had solo and group shows in New York, Berlin, London, and Washington, DC including StorefrontBushwick, Outlet Fine Art, HKJB, the Islip Art Museum, and The Castle Gallery. His most recent solo shows in Washington, DC include "Wearing Ethereal" at Flashpoint Gallery in 2013 funded by a grant from Cultural DC and "Yantras" at Neptune Fine Art in 2014.

Wednesday, July 23, 2014

Laurel Lukaszewski shows at NIH!

Laurel Lukaszewski
2014 ceramics
Artist Statement:
I am fascinated by repetitive forms found in nature, in patterns that seem to make sense out of chaos. I enjoy the poignancy that exists on the edge of celebration and loss, capturing the nostalgia that occurs when one suddenly experiences something long forgotten. Most of my installations identify with the idea of a moment captured in time, a nod to the concept originally from the Japanese tea ceremony of “ichi-go ichi-e” which translated means something close to “in one lifetime, one meeting” or “once in a lifetime.”
My works are most often installed on-site in response to their surroundings, whether extruded clay forms resembling three-dimensional line drawings or individually sculpted objects that multiply into the thousands. These sculptural drawings develop much like graphite on paper, being built up or “erased” when pieces are added or removed. Each time I install a work, it is different. When it is moved, it is dismantled and when reinstalled, it is reconfigured to respond to its new space. For me, this mutability is a fascinating and important aspect of the work, realizing that it will only exist as it is in the present.
Artist Background:
Laurel Lukaszewski is a Washington, DC-area based artist who creates installations and sculptures primarily from clay. Much of her work is composed of extruded forms resembling three-dimensional line drawings or calligraphic brushstrokes and is influenced by her graduate studies and work with Japan over the past two decades.

Laurel has exhibited in galleries and at art fairs across the country and in the UK. Since 2006, she has had ten solo exhibitions in the US, most recently at Messiah College in Grantham, PA and the Art Registry in Washington, DC.

A founding member of Flux Studios in Mt. Rainier, MD, Laurel was a visiting artist at Seattle’s Pottery Northwest in summer 2008 and the 2009 ARTworks artist-in-residence at the Holland Hall School in Tulsa, OK. She has served on a number of nonprofit boards including the Washington Sculptors Group, the National Cherry Blossom Festival and the Washington Project for the Arts Artist Council.

Please visit for more information.

Monday, July 14, 2014

Lore of the Horse shows power, strength of the Chinese brush

Powerful brushstrokes reflect the tradition of the Far East representing this Year of the Horse with the work of Washington area artist Tracie Griffith Tso in an exhibit at the Clinical Center at the National Institutes of Health, July 14 through September 5, 2014.

This dual media exhibit explores Chinese brushpainting on paper and pottery, focusing on the power and strength of the horse, accompanied by a collection of spontaneous flower-bird compositions.

Ink paintings on rice paper show the lighter side of the brush with snowy, moonlit backgrounds and soft water scenes. Black ink adds contrast and movement to fish, birds, flowers and horses.

About the challenges of two mediums, she says, "I can instantly see how my work will look on paper. Claywork is more temperamental so each piece is a surprise."

An earthy echo is apparent in high-fire brown and white stoneware as dimension adds texture, shine and curves to the equation. Koi wind around a wine chiller, a black stallion dances across a platter and a panda perches on a teapot. Handpainting on wheel-thrown and hand built pottery is framed by symbolic patterning, peppered with auspicious red seals called chops.

Griffith Tso began studying Chinese painting at age 12 and specializes in spontaneous brushwork. The award-winning artist developed her style with a teacher who was schooled by a master in Hong Kong. Her introduction to pottery was as a teenager at a local art center, and she returned to the clay medium in 2005, partnering with potter Patricia Ferrell at Brushy Fork Creek Gallery in Crofton, Ky.

Traveling from her native California, Griffith Tso has been teaching and lecturing nationwide about Chinese brushpainting, a 6,000-old technique. A Torpedo Factory associate, she is a member of the Washington Ceramic Guild and the Kiln Club, exhibiting monthly at the Torpedo Factory Art Center's
Scope Gallery. The artist and her husband, along with her muse and rabbit, Cleopatra, reside in North Reston.

This exhibition and sale event runs from July 12 to Sept. 5 and is open to the public. Twenty percent of the proceeds of sales will go toward for the Patient Emergency Fund. The Clinical Center at NIH, Building 10, is located at 9000 Rockville Pike Bethesda, MD 20892. Display cases are located on the ground floor.

Tuesday, June 17, 2014

Bill Firestone's write up in the Washington Post Blog

Artist Bill Firestone recently showed in NIH's Changing Art Exhibit. Check out a write up on his work in the Washington Post Blog below.

Monday, June 16, 2014

Leslie Shellow's Site Specific Installation at NIH!

Leslie Shellow has created a site specific installation in one of NIH's display cases on the third floor of Building 10! Check out the images and Leslie's artist statement below.

Artist Statement:
My work emerges out of my experience of nature as a simultaneous force of beauty and destruction. While walking in the woods, along seashores and riverbeds, I have closely observed growing and dying organisms that gather beneath my feet and reflect on their intricate patterning and their unique interactions with one another. In my installations, I invite the viewer to notice things they might normally disregard or overlook and to be reminded of the invisible world that goes on beneath our noses and outside our awareness.

My process is spontaneous yet slow, methodical yet intuitive. I respond to visual stimuli and allow them to navigate me through the creation of multiple drawn components that will eventually go into the installation. I work meditatively, building one small element on top of another in the very time consuming, arduous process of drawing and cutting every piece by hand. While the task of making the objects takes months or years to complete, the installation itself is a fluid, intuitive, process that is conceived on the spot and completed in one week.  I approach each gallery space with little preconception of how the work will end up. The landscape seems to grow of its own volition. The methodical yet haphazard process represents what I feel is happening in nature both inside and outside our bodies.

The materials used in my installations consist of many recycled products such as, phone books, wax, toilet paper rolls, old drawings, found paper, and dirt. It is important to me not to leave a heavy footprint on the earth with my work, for I want my art to add awareness without adding clutter.

This work underscores the opposing forces of nature:  magnetism vs. repulsion, contraction vs. expansion, growth vs. decay, and beauty vs. ugliness.  It is a combination of these polarities that can be seen in nature both inside our own bodies and in the world as a whole.  For the work to succeed, I feel it should compel the viewers to recognize themselves on a more cellular level, to recognize who we are inside.  

My installations are not static pieces of artwork. They continue to grow and evolve as the pieces go from gallery to gallery.  Each new installation is an outcropping of the one that came before.