Richard F. Brush Art Gallery

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.

“San Tan” by Clinton Cline is included alongside Melissa Schulenburg’s artwork as part of the “Traces & Transformations-...
09/03/2026

“San Tan” by Clinton Cline is included alongside Melissa Schulenburg’s artwork as part of the “Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty” exhibition, on display at the Art Gallery until October 6, 2026.

Throughout history, printmaking and patterns have shared a profound connection, dating back to ancient civilizations. Early societies used carved stamps and seals to reproduce geometric and figurative motifs. These techniques and practices still inspire contemporary printmakers today. Melissa Schulenberg’s prints and sketchbooks reflect her personal evolution as she develops a distinct textural alphabet, while also engaging with the enduring legacy of historical patterns and textures.

To illuminate Schulenberg's creative journey, this exhibition showcases pieces from SLU's permanent collection alongside her work. These selected prints invite viewers to consider her artistic evolution, the influence of past traditions, and the formation of her visual language. Featured in this grouping is a piece by her mentor and graduate professor, Clinton Cline.

While Cline and Schulenberg maintain distinct artistic voices, their works share visual connections. In Cline’s lithograph “San Tan,” one can identify patterns and forms that echo Schulenberg’s characteristic humps and stumps. The interplay between their works reflects the dynamic relationship and mutual influence shared between mentor and protégé, illustrating how artistic ideas are exchanged and evolve through collaboration and guidance.

The dialogue between past and present in Schulenberg’s work highlights the enduring significance of patterns in printmaking. By drawing on historical influences and developing her own visual language, Schulenberg not only honors tradition but also explores and develops her own practice of mark-making within contemporary printmaking.

“Blast,” from “20 Artists – 20 Views” by Melissa Schulenberg, professor of Art and Art History, is part of the “Traces &...
09/03/2026

“Blast,” from “20 Artists – 20 Views” by Melissa Schulenberg, professor of Art and Art History, is part of the “Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty” exhibition, which is on display at the Art Gallery until October 6, 2026.
 
Melissa Schulenberg is 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.

Interview with Melissa Schulenberg:
 
-What is your process?
            “My working process usually starts with drawing.  I always have at least one sketchbook in progress at all times, and often draw during meetings, traveling, or other downtimes.  Sometimes these drawings are the impetus for a print, in one iteration or another.  If I am responding to an exchange portfolio prompt, then I begin by doing a lot of sketching.   I will spend a good amount of time developing an image…but usually throw it out.  I think that is a significant part of my process now….knowing that I need to spend time developing an idea but also realizing that it probably isn’t a good idea and I will discard it.  Once I get past that, I find that the next ideas/images are usually better.”
-What materials do you use?
            “I have used all sorts of printmaking processes:  intaglio, relief, screenprint, lithography, mokuhanga.  Each is unique and challenging.  But of late, I prefer mokuhanga, which is the traditional

“weave” by Melissa Schulenburg, professor of Art and Art History, is part of the “Traces & Transformations- Recent Work ...
09/02/2026

“weave” by Melissa Schulenburg, professor of Art and Art History, is part of the “Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty” exhibition, which is on display at the Art Gallery until October 6, 2026.
 
“For years I’ve been creating images using my own visual alphabet of stripes, humps and stumps, scars, thread, totems, shadows, woven textures, and a torus shape, to name a few. I use this alphabet to create images that are sometimes broad vistas and at other times microscopic investigations. In some iterations, the image is simultaneously both.
 
Lately, I have begun incorporating Japanese patterns into my compositions, adding them to my visual alphabet. These patterns are more geometric and regular and serve as a counterpoint to my own organic patterns. Each composition aims to present a new compilation of visual notations, continually building and rearranging and playing with a growing visual alphabet.”
- Melissa Schulenberg
 
Melissa Schulenberg is 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.

“door to good fortune” by Melissa Schulenberg, professor of Art and Art History, is part of the “Traces & Transformation...
09/01/2026

“door to good fortune” by Melissa Schulenberg, professor of Art and Art History, is part of the “Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty” exhibition, which is on display at the Art Gallery until October 6, 2026.

“For years I’ve been creating images using my own visual alphabet of stripes, humps and stumps, scars, thread, totems, shadows, woven textures, and a torus shape, to name a few. I use this alphabet to create images that are sometimes broad vistas and at other times microscopic investigations. In some iterations, the image is simultaneously both.

Lately, I have begun incorporating Japanese patterns into my compositions, adding them to my visual alphabet. These patterns are more geometric and regular and serve as a counterpoint to my own organic patterns. Each composition aims to present a new compilation of visual notations, continually building and rearranging and playing with a growing visual alphabet.”
- Melissa Schulenberg

Interview with Melissa Schulenberg:

-What is your process?
“My working process usually starts with drawing. I always have at least one sketchbook in progress at all times, and often draw during meetings, traveling, or other downtimes. Sometimes these drawings are the impetus for a print, in one iteration or another. If I am responding to an exchange portfolio prompt, then I begin by doing a lot of sketching. I will spend a good amount of time developing an image…but usually throw it out. I think that is a significant part of my process now….knowing that I need to spend time developing an idea but also realizing that it probably isn’t a good idea and I will discard it. Once I get past that, I find that the next ideas/images are usually better.”
-What materials do you use?
“I have used all sorts of printmaking processes: intaglio, relief, screenprint, lithography, mokuhanga. Each is unique and challenging. But of late, I prefer mokuhanga, which is the traditional Japanese method of water-based woodcut.”
-What do you want to do next?
“More prints! Mostly mokuhanga prints. I’ll be exploring the use of traditional patterns in my imagery, co

“Humps and stumps and water pumps” by Melissa Schulenberg, professor of Art and Art History, is part of the "Traces & Tr...
08/31/2026

“Humps and stumps and water pumps” by Melissa Schulenberg, professor of Art and Art History, is part of the "Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty" exhibition, which is on display at the Art Gallery until October 6, 2026.

Melissa Schulenberg is 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.

Interview with Melissa Schulenberg:
-What is your process?
“My working process usually starts with drawing. I always have at least one sketchbook in progress at all times, and often draw during meetings, traveling, or other downtimes. Sometimes these drawings are the impetus for a print, in one iteration or another. If I am responding to an exchange portfolio prompt then I begin by doing a lot of sketching. I will spend a good amount of time developing an image…but usually throw it out. I think that is a significant part of my process now….knowing that I need to spend time developing an idea but also realizing that it probably isn’t a good idea and I will discard it. Once I get past that I find that the next ideas/images are usually better.”
-What materials do you use?
“I have used all sorts of printmaking processes: intaglio, relief, screenprint, lithography, mokuhanga. Each is unique and challenging. But of late, I prefer mokuhanga which is the trad

“Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty” exhibition is on display at the Ar...
08/27/2026

“Traces & Transformations- Recent Work by St. Lawrence University Studio Art Faculty” exhibition is on display at the Art Gallery until October 6, 2026.
 
The exhibition brings together the works of Kasarian Dane, Rachael Marne Jones, Sarah Knobel, Liza Paige, and Melissa Schulenberg alongside works from St. Lawrence University’s Permanent Collection. Though each artist offers a distinct visual language and perspective, all share a common thread: exploring the marks of human existence through three- and two-dimensional forms that serve as records of meaning at both intimate and collective levels.
 
Materiality is central to their work. Clay embodies the earth’s history; pigments capture the experience of color and perception; and repeated patterns and symbols, whether physical or cultural, accumulate meaning over time. When these works are paired with selections from the university’s collection, the exhibition extends and highlights the relationship between materiality and the ongoing visual dialogues throughout art history.
 
Ultimately, the exhibition considers how humans leave traces through objects, stories, materials, symbols, and creative acts, and how those traces shape our understanding of memory, identity, culture, and environment.

“Where the Rain Still Falls,” “Untitled,” and “Untitled” by Sean Patrick Wiseman SLU ‘26 are part of the AAH SYE Exhibit...
05/13/2026

“Where the Rain Still Falls,” “Untitled,” and “Untitled” by Sean Patrick Wiseman SLU ‘26 are part of the AAH SYE Exhibition ‘Whose kids are these?!,’ which is on display at the Art Gallery until May 16, 2026.
 
The central painting depicts a singular figure standing under an umbrella composed entirely of leaves, where rain falls only beneath its canopy, leaving the surrounding landscape dry and fractured. Where the rain hits, the earth flowers and plant life blooms, showing signs of regeneration and hope. The unnatural scenario illustrates a central paradox: the very systems that sustain human and plant life alike are actively being degraded.
 
My work uses surrealism to explore the environmental consequences of deforestation and drought, and the role humans play within these issues. The umbrella symbolizes nature as a source of survival that is increasingly diminished. By isolating the rainfall underneath the umbrella, the painting reflects the instability of relying on what is simultaneously being destroyed.
 
The additional drawings extend these ideas through symbolic contrasts between growth and absence, reinforcing the delicate balance between destruction and regeneration. Together, the works reflect both the urgency of environmental decline and the enduring potential for recovery.
-Sean Patrick Wiseman
_______
Sean Patrick Wiseman is an Art & Art History/Studio Art and Business in the Liberal Arts double major and a member of the men’s lacrosse team. His work is deeply informed by his connection to the natural world and shaped through extensive time spent skiing and hiking in the Adirondack Mountains. These experiences have fostered a strong appreciation for the environment, which serves as a central influence in his work. Through his work, Wiseman explores contemporary environmental issues, particularly the impact of human activity on natural systems and the role individuals play in both contributing to and addressing these challenges.

“The Elephant in the Room” by Sofia Zareizadeh SLU’26 is on display at the Art Gallery until May 16, 2026. This piece re...
05/12/2026

“The Elephant in the Room” by Sofia Zareizadeh SLU’26 is on display at the Art Gallery until May 16, 2026.
 
This piece reflects the tension of living between two realities: being physically safe, while loved ones remain in danger far away. It speaks to the experience of diaspora and the quiet weight of separation.
 
The central figure sits on three forms representing my family, showing how love and community uplift and support us, even from a distance. Her eyes are closed in denial and rejection of reality, yet slightly open revealing an awareness she cannot fully escape. From her hands, strands of thought emerge, expressing the constant flow of overwhelming and inescapable thinking. The “elephant in the room” represents an unspoken issue something everyone is aware of, yet chooses not to acknowledge. People remain in their comfort, avoiding it, while those directly affected are left to endure it in isolation. Her hair moves like waves of overthinking, carrying fish that symbolize hope. As the fish fall to the ground and die, they reflect false hope-hope that once existed but could not survive. Next to the pond lies my cat hunting fish in the pond. Between her legs, a group of candles burns slowly, marking the passage of time; quiet, painful, and unavoidable.
 
Together, these elements express the grief, distance, and emotional complexity of leaving behind loved ones. The drawing includes the text from a note found in a pocket of an Iranian soldier martyred during the recent war that reads, “ The world is a bad place, because even if you gain it all, you have gained nothing, but that is also the beauty of this world even if you lose it all, you have in reality lost nothing.”
-Sofia Zareizadeh
 
To learn more about this exhibition, please click the link in our bio. Thank you.

“Self-portrait #1,” “Self-portrait #2,” and “Self-portrait #3” by Kyle Hunter Rivard SLU ‘26 are part of the AAH SYE ...
05/12/2026

“Self-portrait #1,” “Self-portrait #2,” and “Self-portrait #3” by Kyle Hunter Rivard SLU ‘26 are part of the AAH SYE Exhibition ‘Whose kids are these?!,’ which is on display at the Art Gallery until May 16, 2026.
 
For the past couple of months, all I have heard the people in my life ask is the same old question: “What are you planning on doing after graduation?” I have been lucky enough to secure a job in carpentry, but I still cringe when people ask that question. I have had a lot of changes in my life recently, which have left me daydreaming about my past and future much more often. I have come to the realization that due to the time I have spent daydreaming about the future and past, I have missed what is really in front of me.
 
For this series, I painted myself in the present by looking through a mirror so I can truly experience who I am at this very moment. Throughout the spring semester, I have noticed that working on this project has led me to be more present in my everyday life. Today, there are so many different distractions right at our fingertips. Being able to separate myself from those distractions and put myself in the moment for a couple of hours as I painted made me appreciate the things that I have right now.
 
To go further in my process of living in the present, I have deleted all my social media, which has given me more time to dive into my other passions. It’s given me a clearer picture of who I am and what I like and don’t like.
 
When I started this series of paintings, it was just something interesting to do for my senior seminar, but as I got further into it, the idea of the project has made its way into my everyday life.
-Kyle Hunter Rivard

“Anar (the pomegranate)” by Sofia Zareizadeh SLU’26 is on display at the Art Gallery until May 16, 2026. This piece imag...
05/11/2026

“Anar (the pomegranate)” by Sofia Zareizadeh SLU’26 is on display at the Art Gallery until May 16, 2026.
 
This piece imagines the world as a pomegranate. Like its many seeds, we exist as individuals yet remain deeply connected and dependent on one another. Together, we form a whole.
 
Encircling the pomegranate is a poem by Persian poet Saadi Shirazi (1210-1291):
 
“Human beings are members of a whole,
In creation of one essence and soul.
when one person suffers, others feel it too.
Empathy is what binds us.”
 
On the right, I portray myself within the contradictions of this world. One side is smiling and light, while the other is heavy and downcast. This reflects the dual nature of human experience: the coexistence of joy and sorrow.
 
The pomegranate holds deep significance in Persian culture, symbolizing life, unity, and interconnectedness.
-Sofia Zareizadeh

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

Alerts

Be the first to know and let us send you an email when Richard F. Brush Art Gallery posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Museum

Send a message to Richard F. Brush Art Gallery:

Shortcuts

Share

Category