Richard F. Brush Art Gallery

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Richard F. Brush Art Gallery Named in recognition of the generosity of Richard F. Brush '52, the Gallery is an academic resource of St. Brush Art Gallery.

Featuring rotating exhibitions of work by regional, national and international artists; a permanent collection of over 7,000 artworks and artifacts; digital image collections for teaching and research; and educational programs, class visits, and tours. Lawrence University, an independent liberal arts institution. The mission of the Gallery is to acquire, preserve, interpret, exhibit, and otherwise make accessible works of art, in support of the educational goals of the University and for the benefit of the community at large. Programs and activities are designed to balance a range of disciplinary and interdisciplinary objectives, in recognition of diverse functions and meanings of art. As such, the Gallery provides a forum for the creative and critical expression of artists, historians, and curators. The stewardship of the University's permanent collection and a program of temporary exhibitions are the central components of the Richard F. Related activities such as lectures, panel discussions, residencies, tours, acquisitions, conservation projects, and campus displays provide aesthetic, educational, and cultural opportunities for a variety of audiences.

“Baren 100-B,” organized by Mike Lyon in 2025, is a mokuhanga exchange portfolio and a continuation of barenforum.org’s ...
10/12/2026

“Baren 100-B,” organized by Mike Lyon in 2025, is a mokuhanga exchange portfolio and a continuation of barenforum.org’s efforts, which began in 1998. In an exchange portfolio, artists create prints for each participant, and the organizer then collates and distributes them. Baren 100-B required that the prints be mokuhanga (traditional Japanese-style woodblock printing using water-borne pigment) on washi (handmade paper made from kozo or related fibers) in the hashira-e size. Known as pillar prints, works in hashira-e decorated the wooden supports of Japanese homes. Given the project’s constraints, artists were free to choose any subject, which ranged from abstract color studies to nature themes to legendary kabuki characters.

Free and open to the public.

At its most basic level, a print is an image produced from a matrix created through pressure. Thousand-year-old handprin...
10/12/2026

At its most basic level, a print is an image produced from a matrix created through pressure. Thousand-year-old handprints on cave walls are a type of print: the hand is the matrix. The earliest known printed book is the Diamond Sutra dated 868 C.E., found in the Mogao Grottos in China. It was printed from carved woodblocks. Johannes Gutenberg’s experimentation with movable type in 1440 transformed printmaking in Europe, leading to the need for mass production of paper. Newer forms of printmaking flourished as technologies developed.

The artworks in the main gallery highlight various printmaking processes from across the centuries and around the globe. Processes include relief (woodblock, linocut, monotype), intaglio (etching, photogravure, drypoint), lithography, and serigraphy. Prints are displayed according to technique used, with contemporary artists shown alongside historical examples.
– Melissa Schulenberg, Charles A. Dana Professor of Art and Art History

Free and open to the public.

Related event: Coffee Talk with Melissa Schulenberg, on Thursday, November 5, at 11:30 am in the Art Gallery.

Both dogs and monsters are important in Inuit culture. Dogs were (and continue to be) practical companions for the Inuit...
10/12/2026

Both dogs and monsters are important in Inuit culture. Dogs were (and continue to be) practical companions for the Inuit and are present in every village and town, as well as working “in the bush.” Dogs assist with transportation, help with hunting, and keep guard. Inuit monsters of myth and legend also serve a purpose, warning of the dangers of life in the Arctic and reinforcing cultural norms. For example, the threat of shapeshifters and sea monsters warns children not to get too close to the water’s edge.

In a way, my dogs are like monsters who live with me. They are mysterious and somewhat unknowable yet present in my daily life where they provide companionship rather than practical skills.

The prints in this exhibition have been collected over several years, and the two themes have grown in the collection in a wonderfully haphazard way. The majority were created in Kinngait Studio (Kinngait, Nunavut), Canada’s longest continuously running printmaking studio, operating since 1959.
– Carole Mathey, Assistant gallery director

Free and open to the public.

Upcoming exhibitions at the Art Gallery. All three run concurrently. Locations of each show:-Small Gallery: “Dogs & Mons...
10/07/2026

Upcoming exhibitions at the Art Gallery. All three run concurrently.

Locations of each show:
-Small Gallery: “Dogs & Monsters”
-Main Gallery: “It’s a Process”
-Gallery’s Hallway: “Baren 100-B”

Gallery Hours: Monday – Thursday, 12:00–8:00 p.m., and Friday – Saturday, 12:00–5:00 p.m.; stay tuned for our Wednesday Night Shift dates.

Free and open to the public.

For more information, please click the link in our bio. Thank you.

Artist Melissa Schulenberg recently met with NCPR Northern Light co-host Monica Sandreczki to talk about her art collect...
10/05/2026

Artist Melissa Schulenberg recently met with NCPR Northern Light co-host Monica Sandreczki to talk about her art collective and how it’s shaping her work.

Several of her pieces are currently on display at the Art Gallery as part of the “Traces & Transformation” exhibition, which runs until October 6, 2026.

Schulenberg is a Charles A. Dana Professor of Art at St. Lawrence University in Canton, New York, where she teaches undergraduate printmaking, drawing, and book arts courses. She received her undergraduate degree (BA in Visual Arts) from Bowdoin College; her MA (printmaking) from Purdue University; and her MFA (printmaking) from the University of Colorado, Boulder. Her work has been exhibited nationally and internationally, most notably in NYC, Australia, Ireland, Japan, and New Zealand. Her work takes inspiration from observed organic forms, the natural landscape, and her immediate surroundings. She often participates in exchange portfolios and collaborates with printmakers from around the world. She is a member of The Mokuhanga Sisters, a collective of nine women artists who share a love of mokuhanga. When not in the studio, she enjoys fishing and hunting in the wilds of upstate New York.

Link to the interview:
https://www.northcountrypublicradio.org/news/story/54028/20261002/how-smell-sound-and-japanese-technique-are-shaping-this-north-country-printmaker

Melissa Schulenberg stands next to her print, "Weave," a photo by Monica Sandreczki.

Works by students in the AAH 228 Color course are shown alongside Kasarian Dane’s paintings in the “Traces & Transformat...
10/02/2026

Works by students in the AAH 228 Color course are shown alongside Kasarian Dane’s paintings in the “Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty” exhibition, on display at the Art Gallery until October 6, 2026.

Featured:
-Alyssa Landry, “Albers XIII: The Bezold Effect”
Gian-Carlo Filippi, “Brice Marden Response: Place/Memory”
-Reid Brechner, “Albers XIV: Color Intervals and Transformation”
-Kaitlyn Gilmor, “Albers VII: 2 Different Colors Look Alike - Subtraction of Color:
2 as 1/8 as 7”
-Mia Thomas, “Albers X: Factual Mixtures - Additive and Subtractive”
and on the bottom
Katelyn Kraunelis, “Albers IV: A Color has Many Faces - The Relativity of Color:
1as 2/6 as 7”
-Reid Brechner, “Ursa Major”

For more information about the exhibition, please click the link in our bio. Thank you.

“No. 8” by Paul Huxley is shown alongside Kasarian Dane’s paintings in the “Traces & Transformations- Recent Work by St....
10/02/2026

“No. 8” by Paul Huxley is shown alongside Kasarian Dane’s paintings in the “Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty” exhibition, on display at the Art Gallery until October 6, 2026.

For centuries, color has inspired philosophers, writers, scientists, and artists to consider its role in visual perception. Few have considered the topic more deeply than artists, who have explored color’s effects and its relationships to line, form, and tones in their work. For many modern and contemporary artists, color is not only a symbol of representation but a subject in itself.

Kasarian Dane’s paintings align with a long tradition of artists fascinated by the complexities of color, often explored through hard-edged, geometric divisions. Alongside Dane’s work, we have artwork by Paul Huxley, a key figure in this minimalist color art movement. Together, the artists represent evolving approaches to image-making and color.

For more information about the exhibition, please click the link in our bio. Thank you.

Join us Saturday, outside the ODY library!!French–American artist Sabine Gruffat will present her animation projects thr...
10/02/2026

Join us Saturday, outside the ODY library!!

French–American artist Sabine Gruffat will present her animation projects throughout the evening, showcasing a retrospective selection of her 3-D animations and experimental films.

Attendees are invited to relax among the Enchanted Forest to watch her work.

Free and open to the public.

Shuffle (from Ismael Miranda)” by Matthew Deleget is shown alongside Kasarian Dane’s paintings in the “Traces & Transfor...
10/01/2026

Shuffle (from Ismael Miranda)” by Matthew Deleget is shown alongside Kasarian Dane’s paintings in the “Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty” exhibition, on display at the Art Gallery until October 6, 2026.

For centuries, color has inspired philosophers, writers, scientists, and artists to consider its role in visual perception. Few have considered the topic more deeply than artists, who have explored color’s effects and its relationships to line, form, and tones in their work. For many modern and contemporary artists, color is not only a symbol of representation but a subject in itself.

Kasarian Dane’s paintings align with a long tradition of artists fascinated by the complexities of color, often explored through hard-edged, geometric divisions. Alongside Dane’s work, we have artwork by Matthew Deleget, a key figure in this minimalist color art movement. Together, the artists represent evolving approaches to image-making and color.

Untitled” works by Gabriele Evertz are shown alongside Kasarian Dane’s paintings in the “Traces & Transformations- Recen...
10/01/2026

Untitled” works by Gabriele Evertz are shown alongside Kasarian Dane’s paintings in the “Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty” exhibition, on display at the Art Gallery until October 6, 2026.

For centuries, color has inspired philosophers, writers, scientists, and artists to consider its role in visual perception. Few have considered the topic more deeply than artists, who have explored color’s effects and its relationships to line, form, and tones in their work. For many modern and contemporary artists, color is not only a symbol of representation but a subject in itself.

Kasarian Dane’s paintings align with a long tradition of artists fascinated by the complexities of color, often explored through hard-edged, geometric divisions. Alongside Dane’s work, we have newer works by Gabriele Evertz, a key figure in this minimalist color art movement, whose artwork is in SLU’s permanent collection. Together, both artists represent evolving approaches to image making and color.

In more contemporary works by Gabriele Evertz and Kasarian Dane, we encounter more explorations of color’s complexity. Evertz’s work shows that gray both influences and is influenced by adjacent colors. Dane paints on aluminum panels, allowing paint to sit flat on the surface, while the panels themselves project the colored surface off the wall.

Dane and Evertz want viewers to experience color and form directly, without distraction from the artist’s psychology or narrative. Gabriele Evertz describes color as a pioneering problem, one that pushes our understanding and gives a sense of being alive. Both artists describe their interests and methods in similar terms; their work depends on emotional and ethereal connections rather than a rational language. They want us to utilize our senses to stimulate a different part of our brains.

Address

23 Romoda Drive
Canton, NY
13617

Opening Hours

Monday 12pm - 8pm
Tuesday 12pm - 8pm
Wednesday 12pm - 8pm
Thursday 12pm - 8pm
Friday 12pm - 5pm
Saturday 12pm - 5pm

Telephone

(315) 229-5174

Website

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