Curated by Vivienne M. Lassman
February 4 – May 21, 2023
American University Museum at the Katzen Arts Center
Washington, D.C.
Jefferson Pinder Nestor Hernandez Wm. C. Richardson Nan Montgomery
Jim Sanborn Ellington Robinson Jiha Moon Foon Sham Hedieh Ilchi
Y. David Chung Cara Ober Ian Whitmore Stan Squirewell Thomas Mullany
Tom Nakashima E. J. Montgomery Jae Ko Jason Gubbiotti Julia Bloom
Lawley Paisley-Jones Isabel Manalo Yaroslav Koropulin Jenny Wu
Hsin-Hsi Chen Dan Treado Khanh Le Kathryn Cornelius James L. Wells
Wayne Edson Bryan Chris Combs Sarah Hull Robin Rose Jose Ruiz
Renee Stout Colby Caldwell Molly Springfield Natalia Blanch Annie Schap
Larry Mullins Sondra Arkin Simon Gouverneur Manon Cleary Chul-Hyun
Ahn Tom Green Al Miner Percy Martin James Huckenpahler Zoe Charlton
Ken Ashton Amy Lin Mary Early Inga Frick Azadeh Sahraeian Noche Crist
Julie Wolfe Maggie Michael Adam Fowler Michael Gessner Andrea Way
Yuriko Yamaguchi Willem de Looper Nikki Painter Joanne Kent
Nancy Sansom Reynolds Pat Goslee Linn Meyers Sam Gilliam Kiki Felix
Graham Caldwell Jason Hughes Steve Cushner Fabiola Yurcisin
Nan Montgomery Jim Sanborn Ellington Robinson Jiha Moon Foon Sham
My relationship with Philip and Lisa goes back to the 1990s when they would visit the Troyer Fitzpatrick Lassman Gallery and occasionally purchase work they had very carefully selected. Since both were working with limited budgets as government workers, it was not always possible for them to purchase the art outright so I would arrange an installment plan to encourage these young collectors. Four of their selections from the gallery are included in this exhibition. Over the decades our friendship has grown with combined art and food explorations. Thanks to Jack Rasmussen’s vision, it is a delight to be able to exhibit their collection in the American University Museum at the Katzen Arts Center and share it with budding collectors and lovers of art.
Barlow and Gilotty have always been interested in recognizing the diversity of local artists and have long tracked observable demographics (e.g., gender, race) of artists in their collection. The goal is to ensure there is a broad range of artists that reflects the diversity of the D.C. art community. Philip’s ability and fascination with numbers is responsible for the highly detailed record keeping and charts that illuminate numerous aspects of their collecting.
They are well-known and respected for their commitment and support throughout the arts community. As collectors, they have acquired 459 pieces from 274 artists and purchased work from 64 galleries or nonprofit art spaces. The work includes multiple points of view and techniques, mostly in the local art community.
Many members of the art community generously contributed to this catalog, which is a significant indicator of the respect these collectors inspire through their commitment to our artists.
We have a beautiful memory of our first encounter with Philip and Lisa. We had recently moved into our home in Columbia Heights, and in October 2000 we launched Millennium Arts Salon, a nonprofit organization committed to advancing cultural literacy through the arts. Philip was going door-to-door, canvasing for the Green Party. As he approached the door to our home, he recognized an artwork hanging on our walls by the artist Percy Martin who was going to give a salon talk. Philip expressed interest in participating. This special couple not only joined us for the salon, but also Lisa led the technical video recording of the event, as her knowledge of the equipment greatly surpassed ours. This began a friendship that has continued for over 20 years.
We invited Philip to join the Millennium Arts Salon board of directors during its early years, and he has remained a dedicated board member to this time. His perspectives, guidance, and support have been invaluable.
Juanita and Melvin Hardy Co-founders, Millennium Arts Salon
Lisa Gilotty and Philip Barlow are first and foremost lovers of art. Perhaps more importantly, they love art unconditionally. Because of that, they embrace the people who make, present, and promote art. They revel in the process of art, the places where it is made and shown, and are quick to align themselves with those of like passions. While there are many people who collect art that they like, or think will be valuable, Lisa and Philip collect art that they think matters: matters because it encourages a particular artist to keep going when they might feel a little left out of the scene, matters because it represents an important element of D.C. that may be going unnoticed, matters because they see something that needs nourishment.
Unassuming but readily recognizable, they calmly and keenly observe what is going on in galleries, at events, and in studios. For those of us who have worked hard to encourage and present local artists, they represent not only the embodiment of the ultimate arts patrons, but the true and reliable friends of art. Their delight in looking at new work and meeting new artists is infectious, and I don’t doubt has spawned many new collectors. I, for one, am in awe of and thankful for them.
B. Stanley Director, Theatre Du Jour
Vivienne: How and when did you meet?
(Both smiling)
Philip: In January 1990 I volunteered at the District of Columbia Arts Center for the first time. Lisa was already a volunteer, and she came in to see her friend Margaret who was in charge of DCAC. After that, we found ourselves regularly on the same volunteer schedule, and we’ve been together for 33 years.
Vivienne: Where did you grow up?
Lisa: In Pennsylvania and came to D.C. after undergraduate school.
Philip: In Atlanta, then moved to Miami for a brief period after college and then to D.C.
Vivienne: Did you grow up with much exposure to art?
Philip: In college, since I went to school downtown, I started going to museums such as the High Museum and galleries.
Lisa: We had art on the walls from local artists and went to museums.
Vivienne: What was the first work you bought together and when?
Philip: I bought my first piece from Brody’s Gallery, James Wells Phoenix Ascending the week before Lisa
and I met. An early date took us back to the gallery to check out a new print the gallery sent us information about, Shark by Andrea Way. We also looked at prints by another artist, Percy Martin, and wound-up buying Shark and Martin’s Belort at the Wedding. That was our first joint purchase, and everything else since that purchase in 1990 we have bought together.
Vivienne: How did you arrive at your philosophy for building the collection?
Philip & Lisa: We discovered that we came with similar sensibilities, but it has evolved through many discussions and looking at as much art as possible. We are reluctant to buy something unless we know we will be able to pay for it reasonably quickly. So, most times we are limited in what we can spend on art, and there is always more art we want than we can afford to buy. A decision to buy a particular piece of art is in part a decision not to buy other art we are interested in. Do we buy work from a longtime favorite whose work we have collected before, an artist that may be new to us or one that we have known, but previously not found the right piece? The
deliberations are important to us and even though we don’t always explicitly discuss the trade-offs, it is always in the back of our minds.
Vivienne: Do you have disagreements about which work to purchase?
Philip & Lisa: Rarely. After we view work, either at an exhibit or visiting an artist’s studio, we will compare notes and often identify the same piece as our favorite. For example, in early 2007, we attended an opening for
Graham Caldwell on an evening in which severe thunderstorms struck just as rush hour began and really snarled traffic in D.C. Philip arrived at the opening about 20 minutes after the scheduled start and was surprised to be the first visitor to the opening. Lisa was the next to arrive a few minutes later. We were excited to see the show and took advantage of our opportunity to have the gallery to ourselves by fanning out to take in the show. Just as others were starting to arrive, we compared notes and we decided that Untitled, included in this exhibit, was a standout piece and immediately let the gallery know we wanted it.
Vivienne: What was the evolution of deciding to focus on work that is highly detailed and abstract?
Philip & Lisa: Our aesthetic is really influenced by our backgrounds in science and math.
Vivienne: We have discussed that once the art comes home, finding the perfect juxtaposition in relationship to other works is a complicated process. How do you arrive at a consensus?
Philip & Lisa: When we purchase art it is based on our consideration that the work is important to have in our collection. We never think at that time where to place it. Many times, displaying a new piece creates a domino effect of moving other work around. We are usually anxious to display newly acquired art, but we won’t put up the piece until we both agree on the placement which sometimes results in art sitting on our floor for days or weeks while we figure out where to put it. You need to have everything right to get the perfect fit. We think the effort we put into where each piece goes pays off by
allowing us to display a lot of art without it looking crowded and giving the displayed work a sense of coherence. A recent renovation gave us the opportunity to rehang and reinforced the notion of, if you don’t move a piece after a long time, you don’t see it. One example was the Andrea Way Star Maps. It was amazing experiencing it with fresh eyes. The interaction among artworks changes with the location.
Vivienne: What about lighting?
Philip & Lisa: Art looks different depending on whether it’s displayed in natural or artificial light, and that is a consideration. Some of the art, in addition to our apartment, was in Lisa’s office (28 pieces), in Philip’s (14 pieces), and in the hallways in our apartment building (14 pieces). Space is at a premium, and we have to deal with the existing lighting. None of the art is in storage, unless you count on the floor being in storage.
Vivienne: What are your hopes in exhibiting your collection?
Philip & Lisa: That people see the diversity of our art and are inspired by the amazing artists Washington has, and they will seek out new works by local artists. The Elizabeth French exhibit at the AU Museum inspired us to learn about artists that we didn’t know about. It
was also encouraging to see it installed salon style, which is how we hang our art. We hope to break down the myth that buying art is only for connoisseurs and encourage people to collect for themselves, trusting their own taste and preferences.
Vivienne: Why do you feel it’s important?
Philip & Lisa: The art we have collected over the years, although diverse in media, has a coherence that is not random. It looks like a collection.
Vivienne: What would you like to happen to the collection?
Philip & Lisa: We do not want to monetize it. We never considered buying art as an investment. It’s never been about the money.
Vivienne: Would you be interested in traveling the exhibition if the opportunity arose?
Philip & Lisa: As long as it was developed as being an exhibit about collecting, not a show solely about D.C. artists. The quality of the art is good enough to stand on its own.
Vivienne: Can I mention the Vogels as a comparison? (Dorothy and Herbert Vogel were a renowned New York
couple whose extraordinary collection was gifted to the National Gallery of Art because it does not charge admission, and they wanted their art to belong to the public.)
Philip & Lisa: While very different, there are some similarities. They had a focus and intention in what they were doing because they liked doing it and kept on buying at an impressive scale. They dedicated one salary to buy art intentionally. For us, 33 years takes a level of persistence to do it for this long.
Vivienne: What gives you the most pleasure in your pursuit of art?
Philip & Lisa: To be able to share knowledge about being a collector. We’ve always tried to be open and accessible to others, offer advice when asked, and encourage friends to go to art events. We know from experience it can be somewhat intimidating getting started, and we do what we can to demystify collecting. We’ve gathered groups of friends to go to “First Friday” openings, usually followed by dinner and discussion afterwards, possibly joined by an exhibiting artist or two. We made it clear if anyone had questions during the evening, they could come to us, and if we did not know the answer, we would ask the gallerist.
Vivienne: What is the most enjoyable aspect of the art?
Philip & Lisa: The visual and emotional impact. Remembering the stories about each piece. We know most of the artists. What came before the work and what came after it—the overall progression. More than the image, it’s the pre- and post-connectedness. Otherwise, it can limit appreciation if you don’t know as much about it.
Vivienne: How important is your interaction with artists?
Philip & Lisa: One of the most rewarding aspects is learning about their process and hearing about them moving in a new direction. Our encounter with Chris Combs (whose account of our meeting is described in the catalog) and his subsequent move into becoming a fulltime artist, is one of our favorite stories. The excitement is in identifying new artists and perhaps being able to buy their first work. Or finding an artist just starting in a new direction, like Colby Caldwell. We have two from the series how to survive your own death. He numbers them sequentially, and he is now in the hundreds. We have #7 but it is the first one he sold.
Vivienne: Does this exhibition mean you will stop acquiring new art?
Philip & Lisa: No!
I met Lisa and Philip in the early 2000s, and the D.C. art scene was in a bit of a transition. It was clear that big changes were ahead. Before YouTube, Vimeo, Twitter, or the popular video revolution, video artists, like me, produced work that was hard to define. Somewhat quotidian, what was the value of a video? In the time before the millions of “views” and “likes” on social video platforms, video art occupied a sacred cultural space all unto itself. Before NFT’s or “hearting” on a work you admired, there was one sure way to show support which was by buying video art, writing a check for ephemeral moments, and supporting an artist. At that time, there was only a small group of collectors who really appreciated and understood the value of a video and put their money toward the development of ideas and talent. Lisa and Philip are the rare breed of collectors who buy video art. They purchased my first video on a DVD. I remember how this sale allowed me to reconsider the value my artistry captured on film and for that, I will be forever grateful.
Jefferson Pinder Video Artist
This chart looks at both the number of pieces acquired each year (represented by the yellow bar) and the total amount of money we spent on art each year (represented by the green area). Not only does it give us a visual idea of our collecting activity, but it reminds us of other events in our lives and how that impacts our collecting activity. For example, in 2008 we paid off the mortgage on our home, but in 2010, we purchased the apartment next door because we were running out of space for art.
As part of supporting the local art community, it is also important to support the venues exhibiting art. Over the years we have collected work from 42 commercial galleries and 22 non-profit art spaces as well as purchasing art directly from artists without local representation. The other category is mostly auctions. This chart looks at the percentage of artwork we have acquired from each sector, and the percentage of our total art spending that went to each.
We often describe our collection as telling a story, and with each piece we add a page in that story. In fact, we have stories attached to many of the individual works in our collection, relating to how we acquired the work, how we came to know the artist, or something interesting that happened during the process of getting the art. What the viewers of this exhibit get to see is hopefully less of a CliffsNotes version of our collection story and more of an abridged edition. To help tell that story, the exhibit includes at least one piece we acquired each year from 1989 to 2022.
By focusing our collection on local contemporary works, we have gotten to know many of the artists and interacting with them enhances our understanding of their thinking and process. Also, getting to see their work regularly provides us with a sense of how the pieces we have collected fit in with their overall body of work. When we look at the work in our collection, we see more than an interesting object; we see a background and context that adds to our experience of it.
In addition to the art telling a story, the pattern of collecting tells our story. When you look at the way the collection developed over time, it reflects what was going on in our non-art-collecting lives. In the accompanying charts viewers can, for example, see a big increase in spending and work collected in 2008, that is when we paid off our mortgage. But by 2010 and 2011, you see a big drop, which is in response to our purchase of the apartment next door and renovations to combine the two apartments. Of course, more recently, although we have tried to continue to support the art community, the COVID-19 pandemic has made that much more difficult.
When we started collecting, we set aside a specific amount of money each month dedicated to buying art. The “art fund” money went into a separate bank
account, so we knew exactly how much was available. After a few years, the separate fund had lost its utility, and we just spent whatever we had available on art.
For collectors, there is no better way to learn about art than visiting exhibitions in person. At exhibits, we look at the work, the artist’s background, exhibition history, and the price listed. Not only does this help us develop our sense of the work we like, but it also gives us an idea about how much the work should cost. This makes us aware of a good deal when we see it, and we are especially quick to act on those before someone beats us to it. We take this philosophy to heart, for a period of time Philip tracked his gallery visits and, in a year, he went to see 257 exhibits—about 5 per week.
Early on, we agreed we wanted the collection to reflect the community in which we lived. We realized an anecdotal review of the work was not a substitute for a more rigorous examination. Philip keeps track of the collection on a spreadsheet where we document artists’ race, gender, and ethnicity, among other things. Although this is based on our observations and may not reflect the way the artist self-identifies, it has helped us to understand the collection. More recently, we created graphs to help us visualize the information. We use these graphs and charts as a reminder that we need to make sure we seek out work by artists that reflects the diversity of the metropolitan area.
Most of our collection has come from commercial galleries (50%) and nonprofit and other alternative art spaces (32%). Beyond that, we get work directly from artists (14%) with the remainder (5%) coming from family, friends, and auctions. This reflects our view that supporting the venues exhibiting art is as important as supporting the artists. We are strong believers that you need to see the work in person to really understand it, so having places to see art is incredibly important.
We have never focused too much on any one medium, and we have a wide variety of work. We also don’t look for art to go in a particular place or room. We collect what appeals to us and figure out the rest later. We do know the constraints on our home and the way we display art and therefore try to avoid pieces that just won’t work for us. This is the reason we don’t have a lot of 3-dimensional work, and what we do have is on the smaller side—we just don’t have many places to display larger sculptures.
Many people have influenced us over the years—too many to mention them all—but we think it is useful to know that this really is a collective experience and want to mention a few who have impacted us along the way.
Brody’s, both the gallery and its eponymous owners, Tom and Judy, was a fortunate place for us to get our start. In addition to explaining how to go about buying art, they influenced our approach to collecting. Not only did the Brodys introduce us to some of our favorite artists, but also they had a philosophy about their gallery that inspired us. It was important for them to show a diverse group of artists, and they were not afraid to organize shows that expressed a point of view. They also spent a lot of time going to see art to ensure they identified the best artists for their gallery.
Another player in the Washington art community, Herb White, had an influence on us, even though for a
long time it was from afar. He was a restauranteur, real estate entrepreneur, collector, and supporter of Washington artists. He raised money for arts groups and provided spaces for artists to live, create, and show their work. He owned the building and founded the District of Columbia Arts Center, where we met him, and he was responsible for the James Wells show at the WPA, which led to our first purchase. A published photograph of Herb in his Adams Morgan home, surrounded by art, served as an inspiration for us as a way to live with art.
Vivienne Lassman, who originated and curated this exhibit, has been one of the few people we have continuously interacted with throughout our collecting lives. We first met her through her Dupont Circle gallery that we regularly visited and purchased work from (including our first painting). There is no one better positioned to curate this exhibit and help us tell our story than Vivienne. This has been a great experience because of her professionalism, dedication, and friendship throughout the process.
Living with art enhances our lives and supporting the local art community is our small part of making the District of Columbia a better place for everyone. Collecting has brought us beauty, joy, intellectual stimulation, and friendships over the years. We hope seeing our collection and hearing our story encourages others to create their own path in the art world.
In addition to the art telling a story, the pattern of collecting tells our story. When you look at the way the collection developed over time, it reflects what was going on in our non- art-collecting lives.
One of the questions we are asked most frequently when people find out we are art collectors is, “What kind of art do you collect?” This chart represents the percentage of artwork that falls into each category and the percentage of our total art spending that has gone to each. Trying to categorize the variety of work we have collected into broad enough categories to provide useful information has been one of the more difficult tasks in developing the analysis.
We have always aspired to have our collection reflect the diversity of our community. In order to understand how we are doing in this area we needed to understand the diversity of our collection. We have inferred characteristics as best we can, and while this may not reflect how each artist self-identifies, it provides broad information to assist in our evaluation. This chart shows the percentage of artists, the percentage of artwork and the percentage of our total art spending in each of the categories. We use this chart as a reminder that we need to seek out diversity in the exhibits we visit, and strive to better reflect that diversity in our collection.
Amy Lin, Adoration, 2013. Colored pencil on paper, 26 x 26 in. Collection of Philip Barlow and Lisa Gilotty. Acquired 2013.
Joanne Kent, Construct 6, 2013. Oil and wax medium on plywood, 24 x 24 x 2 in. Collection of Philip Barlow and Lisa Gilotty. Acquired 2013.
Opposite: Zoe Charlton, Wakulla, 2012. Collage and gouache on paper, 35 1/4 x 27 in. Collection of Philip Barlow and Lisa Gilotty. Acquired 2013.
I am so grateful to have met Philip and Lisa just as I was first thinking about building a collection of my own. It seemed an improbable reach, and I wasn’t sure where to begin. Both Philip and Lisa were—and remain—kind, approachable, and happy to share their experience, encyclopedic knowledge of the DMV arts scene, and many connections. Through them, I met artists and gallerists who were welcoming, stimulating, and brilliant. They are sincere in their interest, excitement, and desire to support the D.C. artist community and fledgling collectors like me. Their passion is contagious!
It has been thrilling to have them as my guides while I was discovering my collector’s palate, building relationships, and becoming part of this community. How lucky we are to get this curated look at their collection and learn more about their approach and philosophy. And, what a treat to see all these works in this new setting! D.C. has a lively arts scene in big part thanks to people like Philip and Lisa.
Daniya Tamendarova Collector
Philip and Lisa have both offered me encouragement and support since we first met through the 2016 D.C. Arts Center Wallmountables. They were there for the first time I showed my work publicly, and I was surprised to learn that my work Convergence.01 was purchased on the opening night by them. Subsequently, Philip curated an exhibition of Adams Morgan artists and further pieces of my work were selected for inclusion. Even though I was new to the art world, Philip graciously took time out of his schedule to meet and chat, offering me advice to start building connections not only within DCAC, but also within the greater D.C. art community.
Sarah Hull Artist
In 2017, on a lark, I paid my fee and put a little piece on the wall at D.C. Arts Center’s annual open hang. You can imagine my surprise when Philip began quizzing me about its precise dimensions: “Is that smaller than 5.5 inches?” A red dot appeared next to it. And then, “Would you be interested in showing your work in the Nano Gallery?”
That became my first solo show; my fifth and sixth solo shows open this spring. I quit my day job and now have a fully stocked studio, instead of a bedroom corner workbench. My lark turned into a career that I love. All because Philip and Lisa took me seriously—perhaps more seriously than I did at first.
Chris Artist
I met Philip through his partner who is one of my closest friends. Lisa was a staff psychologist at Children’s National Medical Center when I began my postdoctoral fellowship there in 2004. By 2005, I had bought my first work of art and was following Lisa and Philip around town to art galleries, meeting D.C. area artists and gallery owners, and being introduced to the wondrous world of collecting. Philip and Lisa have been patient, kind, and instructive mentors to me, and it is a tribute to them that my art collection in many ways mirrors their own. It displays a love of abstraction and detail, but more importantly, a commitment to emerging and locally practicing artists.
It was Philip who first encouraged me to join the Visual Arts committee at D.C. Arts Center and eventually the Board of Directors. I think of Philip as the quintessential supporter of the arts in the D.C. area. He always shows up. He gives generously of his time, knowledge, and financial support and puts his heart into every artistic venture, big and small.
Joette James Collector
Philip and Lisa have been more than great collectors of my work, they have also been my friends for many years. During this time, I have watched them assemble one of the most important collections of contemporary art in the Washington D.C. region.
Recently, when I was ready to let go of my most valuable drawing, River of Numbers, I felt that there was only one place it could go—into the care and protection of Philip and Lisa and their superbly curated collection.
River of Numbers is the first of my rule-based drawings and is the source and forerunner of much of the major portion of my work. This drawing is also extraordinarily meaningful to me because the idea for it came to me in a dream from my father, whose passing occurred just before my first exhibition in Washington D.C. Philip and Lisa are a great blessing for me.
Andrea Way Artist
Wanda Barlow
Jean L. Cohen and Gary O. Cohen
Ruth Ann Compton
Sandy Fitzpatrick
Lisa Gilotty and Philip Barlow
Karen Hampton and Thomas Hampton
Juanita Hardy and Melvin Hardy
Bill Hill
Joette D. James
Linda Krensky and Steven Krensky
Vivienne M. Lassman
Judy Penski and Robin Rose
Annette Polan
Jessica Racine-White
Neil K. Rector
Sylvia Ripley and Christopher Addison
Daniya Tamendarova and Paul Taylor
L. Christina Waddler
Washington Print Club
Andrea Way
Bruce Weber and Joan Weber
Brandon Webster
Beverly With and Christopher With Bill Wooby
Although technically curator for this catalog and exhibition, it has been a wonderful collaboration with Lisa, Philip and Brandon. Without working as a team on all aspects of this endeavor, it would not have had the breadth that has been achieved. Only by working closely with them, was I able to understand the importance of their dedication to our artists in Washington and the impact they have had.
Thanks especially to Jack Rasmussen, Kristin Howard, Grace McCormick, Aly Schuman, Beth Bright and designer Vida Russell for shepherding the catalog to completion.
Vivienne Lassman
Vivienne Lassman’s background includes curating the Bicentennial of the Octagon Museum, co-curating the Washington Convention Center Art Collection with international, national and regional artists, the Noche Crist exhibition and catalog at the American University Museum, Anamario Henandez’s retrospective at the Mexican Cultural Institute and the Take Me to the River exhibitions in Pretoria, South Africa, Vilnius, Lithuania and Montevideo, Uruguay.
Lassman has advised on collecting for law firms, and businesses, and served as curator for private collections. She was a partner in the Troyer Fitzpatrick Lassman Gallery and afterwards oversaw the deaccessioning of the Gallery K estate. She has served on several boards including the WPA and the Corcoran School of Art and has authored several essays and catalogs. Born and educated in Edinburgh, Scotland, Vivienne converted her BA in Drama to Art History at GWU and entered the MA program before leaving to represent a group of artists called ACE.
Brandon Webster
Washington DC based photographer, Brandon Webster, has collaborated with artists and art galleries for over 20 years to spotlight the creative talent that drives the DC art world. Brandon has blended his extensive experience in photography with his passion for art and design to found Gallery 2112 in Dupont Circle. Gallery 2112 furthers the collaboration with artists and art collectors to cultivate the tremendous talent that emanates from the DC region.
First published in conjunction with the exhibition
The Barlow Gilotty Collection
February 4–May 21, 2023
American University Museum
at the Katzen Arts Center
Washington, D.C.
American University Museum
Beth Bright, Registrar
Kristin E. Howard, Marketing & Publications Specialist
Jack Rasmussen, Director & Curator
Kevin Runyon, Preparator
Aly Schuman, Assistant Registrar
Curated by Vivienne M. Lassman
Design by Lloyd Greenberg Design, LLC
Vida Russell and Lloyd Greenberg, Designers
Unless otherwise noted, all photographs are courtesy of Brandon Webster and Philip Barlow
© The American University Museum
ISBN: 979-8-9866153-6-3
Cover: Azadeh Sahraeian, Red Void, 2018. Pen and ink on arches paper, 14 x 17 1/4 in.
Collection of Philip Barlow and Lisa Gilotty. Acquired 2018.
Page 1: Photograph of Philip & Lisa by Linda Hesh.
Opposite: Jason Hughes, Untitled (ink mandala), 2006. Ink and graphite on rice paper, 36 x 30 in. Collection of Philip Barlow and Lisa Gilotty. Acquired 2006.
