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Gary Hugh Brown
Gary Brown
Born	(1941-12-19) December 19, 1941 (age 83) Evansville, Indiana, US
Education	DePauw University (BA) University of Wisconsin–Madison (MFA)
Known for	Painting, drawing, printmaking, journaling
Notable work	Mayan Journey Of Gary Brown at Santa Barbara Museum of Art
Partner	Robert W. Smart
Awards	The Elizabeth Greenshields Foundation, Travel Grant

Gary Hugh Brown (born December 19, 1941) is an American artist, painter, draftsman, and Professor Emeritus of Art at the University of California, Santa Barbara. His work is included in permanent collections in the United States, including the Santa Barbara Museum of Art and the Art, Design & Architecture Museum. He has had over thirty-five one-person shows and has participated in 200 group exhibitions in Japan, Ireland, Brazil, and the United States.

Early life

Brown was born on December 19, 1941, in Evansville, Indiana. He is the son of Earl Hugh Brown (1917–2010) and Dorothy Aileen Lynch (1919–2020). Brown's grandfather and father were commercial union painters who significantly influenced and supported his interest in art and his focus on painting and draftsmanship. His maternal grandfather shared his knowledge of the ancient indigenous people, especially the Cahokia Empire. This gave Brown an appreciation of the value and impact of ancient history.

Brown went to McCutchanville grade school and North high school in Evansville, Indiana. At 16, he was staff artist on The North Star High School weekly paper, and was already planning to make a career in commercial art. In 1958, Brown was an Evansville Museum of Arts, History and Science Purchase Award winner and designed and painted sets for the Mesker Amphitheatre in Evansville. In 1959, he graduated from North High School.

Brown attended the University of Colorado at Boulder, Colorado, in 1962. While attending the university he held a one-man exhibit at Schmuckler's Book Store titled Experimentations in Textural Surfaces. The paintings were completed after a summer in Arizona and Mexico. He received a BA degree at DePauw University in Greencastle, Indiana, in 1963. DePauw University has the Gary Hugh Brown papers, a collection of news clippings and biography.

As a result of The Elizabeth Greenshields Foundation Travel Grant Brown was awarded in 1964 and 1965, he traveled to Florence, Italy, to study at the Accademia di Belle Arti di Firenze with painting professor Pietro Annigoni (1910–1988). Brown started one of many handmade journals with artwork on his time in Italy. Brown did a drawing of the Giambologna's Equestrian Monument of Ferdinando I at the Piazza della Santissima Annunziata when he was in Florence.

In 1966, Brown received a Masters of Fine Arts (MFA) from the University of Wisconsin–Madison in Madison, Wisconsin. Painter and Professor John Wilde chaired his MFA committee.

Career

Brown was Professor of Art at the University of California, Santa Barbara (UCSB) Art Studio Department for 40 years, from 1966 to 2006. For another seven years he taught drawing, painting, and journaling as professor Emeritus, during the summer at the College of Creative Studies at UCSB.

Artist, professor, Vietnam war: 1960s

After completing his MFA in 1966, Brown, at the age of 24, worked as an artist in Wisconsin, exhibiting his art at several galleries in the area. In that same year he accepted a position as assistant professor at UCSB.

Fold Variations: 1965–1984

Brown's Fold Variations depict light and shadow falling on illusionistic geomatic folds. In September 1966, Brown had a one-person exhibition at the Evansville Museum of Arts, History and Science in Evansville, Indiana, where he was reviewed by The Courier-Journal. His work included Als ich kan (As I Can), a large folding six-panel screen in mixed drawing media 79" x 146" (1965–1966), and drawings done during his two years in Italy.

Brown exhibited his fold variations that included a poster Folded Drawings, raw pigment & charcoal on linen paper 29" x 22" in 1967, held at the Fleischer-Anhalt gallery exhibition on La Cienega Boulevard, Los Angeles, which was his first exhibition in Los Angeles.

From February 3 through 21, 1967, Brown had his first California one-man exhibition at Ventura College for the New Media Gallery in Ventura, California.

Brown Portraits series started in 1968 with Marci, charcoal, pastel, and spray paint, 24" x 18", collection of Mrs. Frank Hamilton, Santa Barbara, California. His first assignment to all new students was the execution of a self-portrait and the discipline of keeping a journal on unlined sketchbooks.

From 1969 to 1970, Brown resided in New York City where he did large acrylic spray paintings on linen, with repeated folding planes.

Vietnam War

In 1968, the UCSB Faculty Committee, to help end the Vietnam War (1955–1975), commissioned Brown to do an antiwar poster, which became the Johnson's Baby Powder Made In U.S.A. made of three colors silkscreen on silver paper with a photograph by Felix Greene. Although the UCSB faculty did not accept the work, it was published in Milan, Italy, and distributed worldwide except in the United States.

The "Johnson" referred to in the poster is President Lyndon B. Johnson, who escalated the Vietnam War, "Johnson’s Baby Powder" refers to Napalm, and the Johnson & Johnson familiar advertising logo was used for political art purpose for the first time.

By 1969, Brown had printed over 11 books, many with lithographic illustrations with text by friends including the English poet Peter Whigham. He conducted a seminar course with Whigham entitled The Poet, The Artist, and the Book.

Residencies: 1970s

In the 1970s, Brown went on five residencies, which included Santa Cruz, California, Pajaro Dunes, California, Brookston, Indiana, New Harmony, Indiana, and Waterford/Dublin, Ireland.

In February 1971, Brown's folded lithographic prints were displayed at the Plaza Gallery of Fine Arts in Oxnard, California. His work was influenced by his travels to Mount Athos in Greece in 1964, to Mexico, Latin America, Chicago, Russia, Turkey, New York, and San Francisco.

In February 1972, Brown was awarded fifth prize in the Eighth Tyler National art exhibit, that showed at the Tyler Museum of Art in Tyler, Texas. He used pastel-colored strips of nylon entitled Abandon Ship Station No. 6, which was one of 25 works selected to exhibit from 2,000 U.S. entries. By this time Brown had been included in more than 40 exhibitions and 6 one-man shows.

Mayan Inca Journey

In the summer of 1971, Brown traveled to Oaxaca, Mexico, where he lived with a group of Zapotec Indians. In his Mayan Inca Journey, he drew the Mexican people and landscapes. Some of these drawings were shown at the University of Santa Clara and at the Santa Barbara Museum of Art (SBMA).

A lithographic poster called Mayan Journey Of Gary Brown with a self-portrait, watercolor, 22" x 32," was the announcement for an exhibition at the Saisset Art Gallery, at the Santa Clara University, November 30 – December 20, 1971. This poster is now in SBMA's permanent collection. A year later, another poster, titled Mayan Journey of Gary Brown, was shown at SBMA, January 8 – February 2, 1972, Monte Alban Child, 1971, charcoal and coffee, collection of Mrs. Virginia Nugent, Evansville, Indiana. This poster is now in Art, Design & Architecture Museum (AD&A) Museum’s permanent collection at UCSB. Other works include Angel, 1971, charcoal with coffee wash, 30 x 22", collection of the SBMA, collection of Ms. Ala Story; and Young Man With Parrot, 1972, charcoal, coffee and watercolor, 30 x 22", collection of Brian Stowell, Reading, Massachusetts.

• Mayan Journey by Gary H. Brown (1972)
• Angel by Gary H. Brown (1971)
• Mayan Journey - Self Portrait of Gary Brown (1971)

Another exhibition in 1972, selected by Richard Ames a critic for the Santa Barbara News-Press, was at the Gallery de Silva in Montecito Village. It included Landscape Reflection, a self-portrait of Brown done in 1971.

Other works

Brown did the drawings of the Santa Cruz Mountain Poems, by poet and author Morton Marcus in November 1972. An edition of 1000 copies sold out and a 20th anniversary reprint of the book was published in 1992.

Brown worked on his Hand Series from 1972 to 1978. In 1972, his Farm Hand, a watercolor and pastel, 30" x 22," was in the collection of art works at the Upper Market Street Gallery in San Francisco.

Brown's Handmade Paper series appeared in the mid-seventies. He did the work Palm Reader in 1974, a video photoprint with tarlatan on handmade paper, 24 x 37," which was on display at a solo exhibit at the New Harmony Gallery of Contemporary Art in August 1976. The exhibit displayed mixed media prints, drawings, and paper constructions.

In 1974, Brown went on sabbatical to Ireland at the invitation of Professor Paul Funge, artist, Director of the Waterford School of Art where Brown was artist-in-residence. In Dublin he had a one-person exhibition at the United Arts Club, one of the oldest art clubs in Europe.

Brown's Nature Series were done between 1974 and 1984. In 1978, at Santa Cruz Island off the coast of Santa Barbara, he drew Santa Cruz Island Fox (Urocyon littoralis), charcoal, 30 X 22", collection of Helene Donnely, London, England. Others examples include Prickley Pear (1974), sepia watercolor pencil, 22 x 30;" Sea Rockets (1982), sepia watercolor pencil, 21 x 26"; and Lotus Land (1978), charcoal and ink on Kozo-shi paper, 26`1/2 " x 37 3/4".

He did the centerfold sketchbook for several books by Noel Young/Capra Press in 1974, (published under the pseudonym "Leon Elder"). These included the books Hot Tubs and Free Beaches.

In 1975, Brown gave a public slide lecture on the artist's illustrations of Alice in Wonderland as part of the UCSB Faculty Lecture Series, entitled Happy Unbirthday Lewis Carroll. He was able to get the UCSB Arts Library to purchase the Salvador Dalí tome of Alice In Wonderland (now in Special Collections). He did programs shaped like the Rabbit's white gloves, titled The Manhattan Project’s Scripted Version of Alice, for the February 20 through March 1, 1975, Studio Theatre in Santa Barbara, California. He did the sets, costumes, and the programs with students of the Theater and Art Departments.

Brown did his Show Of Hands series in the 1970s, which were watercolors of hands of many kinds of people. In May 1976, Brown traveled to San Francisco for a solo exhibit called, Hands Across The Heavens, at the Source Gallery in San Francisco. It included a Hand Poster, watermarked with handmade paper done in 1979 for the Source Gallery in San Francisco. His Jaguar hand prints were used for the cover of Stonecloud, a publication by Dan Ilves in 1978. Inside the book were several other works by Brown.

Brown was commissioned by the New Harmony Historic Trust to celebrate the USA Bicentennial in 1976. He did a large poster called, New Harmony 1814–1976, printed by master printer John Begley, a lithograph of three colors 41 5/8 x 28 5/8".

The Labyrinths paintings extend over twenty years. In 1977, Brown exhibited Labyrinths, at the New Harmony Gallery of Contemporary Art and at the Evansville Museum of Arts and Science. His Knossos Labyrinth was done with hot melt glue, charcoal, graphite, silver foil and paper, 37 x 24." It was a gift from the ARCO Collection, now in the SBMA permanent collection.

Brown's Cross Series were painted mainly in 1977 and consist of seven works. Examples included Latin Cross, 1977, charcoal and graphite on Chiri-gami, 39 1/2 x 241/2"; 5 X’s, 1977, graphite and charcoal aluminum and silver leaf on Shibu-gami, a persimmon skin stencil paper and metallic, 37 X 25"; and Gate, 1977, graphite, charcoal, conte, aluminum, bronze and gold with silver leaf on Izumo-shi, 25 x 37".

He exhibited Grotesques At Lotusland (1979), sepia watercolor pencil, Arches paper, 22 X 32," at Gallery de Silva in Santa Barbara. Lotusland is a non-profit botanical garden located in Montecito, near Santa Barbara. The same year, he exhibited Scribe (1979), charcoal, pastel, watercolor, silver leaf and rhoplex on Hosho-shi paper, 78 x 42", in a collection of the ONE National Gay and Lesbian Archives at the University of Southern California Libraries in Los Angeles.

Brown's Figure Studies were done between 1975 and 1985 that included the tarot deck. The Gymnast Tarot (Two of Rings), was done in 1979, and is charcoal pencil on Hosho-shi handmade scroll paper, 79 x 42", collection of Victor McCaslin, Fillmore, California. Other characters in the Tarot deck included, Fortune (1972), 79 x 42," Tarot Series, on Hosho-shi handmade scholl paper; Hanged Man (1979), charcoal pencil on Hosho-shi paper, hung as a scroll, 79 x 42", a study in suspended animation; Scribe, charcoal, pastel, watercolor, silver leaf (1979); Charioteer (1979–1980), 78 x 42," charcoal, conte, ink and graphite; and The Tower, a more radical Tarot study. A smaller version of Fortune, the size of a playing card mounted on a panel, 2009 12 x 16", is in AD&A Museum's permanent collection at UCSB.

• Lotusland, sepia watercolor pencil (1979)
• Scribe, charcoal, pastel, watercolor, silver leaf (1979)
• Charioteer, charcoal, conte, ink and graphite (1979-1980)

Germany and Japan: 1980s

In the 1980s, Brown went on two residencies, which included West Germany and Japan.

In 1980, Brown accepted an invitation as artist-in-residence at the Atelierhaus Verein Worpswede Art Center in West Germany. In Germany, he did a lithographic print entitled, Physiognomy of different facial shapes and expressions. The next year Brown took a trip to Gabon, in Central Africa where a friend, Blaine Barrick, was serving in the Peace Corps. There, Brown did a sketchbook and the work titled African, (1981) charcoal, acrylic and rhoplex on Stonehenge paper 99 x 50".

Brown continued his exhibitions in Santa Barbara, California. In 1982, his exhibition, Anthology opened at the Art/Life Gallery on State Street in Santa Barbara. "We see Gary H. Brown re-emerged as a vital painter for Santa Barbara, Ventura, and L.A. counties, as well as for Southwest China" said Dr. Sophia G Kidd. Included were Brown's drawings of the Devereaux Series sketchbooks and prints at the Art/Life Gallery.

In 1984 through 2000, Brown donated 95 art objects to the AD&A Museum's permanent collection located on the campus of the UCSB.

In the fall of 1985, Brown did his residency at Art Space, Artists' Union in Nishinomiya, Hyōgo, Japan. He was a guest of Shozo Shimamoto (1928–2013), Professor of Western Painting, Kyoto University and Director of A U Art Space. While he was at Art Space he gave a lecture entitled, Physical and Spiritual Dislocation.

During his residency at Art Space, his life size Tarot deck was shown in group exhibitions in Okayama's ZAP Gallery (1985), National Museum of Modern Art, Tokyo (1989), and Osaka's ABC Gallery (1986). He visited numerous cultural sites, museums, temples in the cities of Osaka, Kyoto, Nara, Kanazawa, Takayama, Nashiko, and Nikko.

The catalogue Gary H. Brown: A Survey Exhibition 1965–1985 was published for the Art Space Japan Exhibition and includes the work of Brown at Art Space. The catalogue has a preface by Shozo Shimamoto and an introduction by Alfred Moir. It includes chapters on Fold Variations (1965–1984), Cross Series (1977), Labyrinths (1976–1985), Portraits (1968–1984), Mayan Inca Journey (1971–1972), Nature Series (1974–1984), Show Of Hands (1972–1976), Handmade Paper (1973–1975), and Figure Studies (1975–1985).

The book Dreamworks, an interdisciplinary quarterly, published in 1986, has a chapter entitled, Images From A Portfolio by Gary Brown that includes two drawings, Landscape Reflection, (1971), and Nightmare, (1981).

Gay Advocacy: 1990s

In the 1990s, Brown was an activist supporting Gay Advocacy (now known as the LGBT movement) through the UC System. In addition to creating his own work to promote a deeper understanding of the AIDS crisis, using his visual language to confront ignorance about gender identity, stigma, and discrimination, Brown ensured that his work would be exhibited to diverse audiences. He utilized his platform within the UC system to promote other gay artists denied the opportunity to show their work based on controversial subject matter. During this time, Brown had one-man exhibits and gave public lectures in Japan, Ireland, and the United States, defending gay rights for dignity and equality.

In November 1991, Brown had a solo exhibition at the Allan Hancock College Art Gallery in Santa Maria, California, where he displayed paintings, drawings, and monoprints.

On January 27, 1992, Brown produced the first one-person show entitled New York Native, for social realist artist Patrick Angus at the College of Creative Studies (CCS) Gallery. CCS is one of the undergraduate colleges at the UCSB. The show broke attendance records. After the show the CCS Provost and Director of Student Health pulled all funding and promotion of Patrick's show considering it "inappropriate," and opted to create an age restriction for entry to 18 and posted a guard to enforce this restriction. Reacting to this censorship and discrimination, Brown contacted the artist David Hockney who then purchased several of Patrick's works in the show and promoted attendance. At a time of widespread homophobia, Brown legally formalized his domestic partnership, making him the first professor in the entire UC system to promote same-sex marriage in this way. Brown was on the first AIDS committee which was headed by the Director of Student Health, but he eventually resigned, feeling the committee was not actively combating homophobia and discrimination. There was urgency to move AIDS discussion and awareness into action in a substantive way, through public policy, social movement, and public opinion.

In 1993, Brown was a Press Liaison for Art Against AIDS, at the Venice Biennale during a semester in Venice. In 1995, Brown exhibited drawings, and paintings at the Emison Art Center at the DePauw University in Greencastle, Indiana.

In 1997, Brown was commissioned to create the 1997 AIDS Chronicles that was presented at a reception at the Sam Francis Gallery in Santa Monica, hosted at the Institute of Cultural Inquiry (ICI). The ICI's long-running AIDS-related project was the AIDS Chronicles, which spanned the years 1993–2014. At this time, the piece, Walking Through The Valley Of Death, was done with colored pencils conté charcoal and watercolor, 50 x 42".

Brown said: "Over the course of the last decade, much of my work has centered on issues of life, love, loss and death. This recent work has been influenced by the AIDS crisis. A public art commission Fountain of Tears; Courtyard of Hope was completed at the entrance to Sarah House, a Santa Barbara AIDS Hospice facility."

Tea Fire: 2000s

In the 2000s, Brown continued his artistic and political response to the AIDS crisis, retired from UCSB, his father died, he was divorced, and lost his home and life's work in the Tea Fire in Santa Barbara. Brown continued to do residencies in Providence, Rhode Island, and Santa Fe, New Mexico.

In 2001, David Leddick wrote about Brown in his book Male Nude Now: New Visions for the 21st Century.

Portrait of a Bookstore as an Old Man is a 2003 documentary about George Whitman, that was directed by Benjamin Sutherland and Gonzague Pichelin, in which Brown is a "talking head."

In the Tea Fire of November 2008, Brown lost his home and everything in it, including his art collection. Brown donated a small print in 2008 to AD&A a few weeks prior to the blaze. After the Tea Fire destroyed his home, Brown showed A Replacement Residence, architectural plans of his new residence, illustrations, and colored pencil renditions at the James A. Schwalbach Gallery, University of Wisconsin, Baraboo, Wisconsin, from November 5 to December 14, 2012. Tom Kress did the plans and permits for Brown's new home after the fire.

In April 2009, an exhibit, Signs of His Times, honored Brown's commitment to AD&A and UCSB by highlighting selections from the gifts he had made to the museum since 1984. The exhibition ran from April 8 to June 14, 2009. The works that were on display corresponded to Brown's years of teaching at UCSB, from the 1960s to 2009. The exhibition included selections of Brown's own works, which demonstrated his background in figurative drawing and presented his most recent work of art.

Brown lives in Santa Barbara, with his partner, artist Robert W. Smart. After 47 years of teaching, he now spends his time on drawing, journaling, reading, and gardening. In Sept/Oct 2016, Brown did a sketchbook when he traveled with Smart to Greece. They went to Delphi, the Cyclades island of Amorgos, the Acropolis Museum, and Istanbul, Turkey, on a separate trip. In the summer of 2017, Brown continued his sketchbooks when he went to Crab Lake in Wisconsin.

Brown exhibited at the Art City Gallery in Ventura, California, from May 19 through June 23, 2018, for the Bad Exhibition: Value in Art. Anthology 2018 is now in the AD&A permanent collection at UCSB. In December 2020, Brown submitted a video at the 2020 SCREAM online exhibition for the LBCC Art Gallery in Long Beach City College Art Gallery.

Since 2020, Brown has been working with the Fourth Dimension Studio in Santa Fe, New Mexico, with master printmaker Michael McCabe. He has done three sessions, the first in January 2020, with Surf's Up, monotype on Rives BFK, 32 x 22" (2020) and other prints; and the second session in March 2021, with deep indigo blue ink, in Kiss, monotype, image size 24" X 16" printed on 30" x 22," cream Rives BFK France (2021); Rhino, monotype, image size 24 X 16", printed on 30 x 22" white Rives BFK France (2021); and Red Tongue, monotype with chine colle, image size 24 X 16", printed on 30" x 22" white Rives BFK France (2021).

• Surf's Up monotype (2020)
• Rhino monotype (2021)
• Red Tongue monotype (2021)

Residencies, 1974–2022

• Fourth Dimension Studio, Santa Fe, New Mexico with master printmaker Michael McCabe (2020, 2021 & 2022)
• Nicholson File Art Studios, ceramic residency, David Allen, advisor, Providence, Rhode Island (2020, 2021, & 2022)
• Nijmegen, Netherlands (2000)
• Art Space Japan, Artist Union, Mishinomija Hyogo, Japan (1985)
• Atelierhaus Verein Worpswede Art Center, West Germany (1980)
• New Harmony Historical Trust, Bi-Centennial Residency (with Richard Meier), New Harmony, Indiana (1976)
• Twinrocker Paper Company, Brookston, Indiana (1975)
• United Arts Club, Fitzwilliam Square, Dublin, Ireland (1975)
• International Institute of Experimental Printmaking, Santa Cruz, California (1974)
• Community of Pajero Dunes California (1974)

Reviews

• The Independent, January 30, 1997, "ArtScope," by D.J. Palladino
• LA Weekly, February 16, 1996. "Vietnam 101, Remnants from the Posters Wars," by Robbie Conal, pp. 37–38
• Los Angeles Times/Magazine, February 4, 1996, "Graphic Details. This Art of War," by Kristine McKenna
• Santa Barbara News-Press, October 25, 1995, "Hospice Courtyard Fete"
• Santa Barbara News-Press, June 22, 1995, "Exhibit Extended"
• The Independent, April 20, 1995, "Face Value," by Lee Ann Stiff
• Santa Barbara News-Press/Scene, March 31, 1995, "Museum Does About Faces," by Joan Crowder
• Los Angeles Times/Ventura County, October 12, 1994, "Two Sobering Looks at the Ravages of AIDS," review by Josef Woodard
• Santa Barbara News-Press, July 24, 1994, "Sarah House Built with Love, Care," by Kathy A. Price
• Montecito Life, July 7, 1994, "Sarah House Offers Hope for Persons with AIDS," by Fred Scott
• The Independent/Arts/Art Scope, April 28, 1994, "Sarah House Opens with New Logo and Fountain"
• Santa Barbara News-Press, April 25, 1994, "Sarah House: Second AIDS Home to Open," by Scott Moore
• The Bulletin, April 1994, "Sarah and Steve and the Miracle at Sarah House," by Jim Cook, photos by Scott Moore
• Santa Barbara News-Press/Scene, January 14, 1994, "From the Gritty to the Sublime," by Joan Crowder
• Montecito Life, January 13, 1994, "University Faculty Exhibit Features Diverse Art Works"
• The Independent, January 13, 1994, "Tactile Goodies," by Christian Lincoln, Santa Barbara News-Press/ Scene, June 18, 1993, "Remembering Great Dates," by Michael Darling
• Santa Barbara News-Press, May 21, 1993, "Monotypes and Panoramas by Michael Darling
• The Independent, May 20, 1993, "Monotypes by Six," by Dena Hawes
• Santa Barbara News-Press/Scene, October 2, 1992, "Opening Windows to AIDS Awareness"
• Santa Barbara Metro, May 14, 1992, "Poet, Artist, Re-release Acclaimed Work" by David Mister
• Daily Nexus, April 17, 1992, "From Tibet to UCSB, Yoga Satisfies." by Allison Dunn
• Ventura College Press, February 25, 1992, "Artist Displays Computerized Images" by Jaime Moreno
• New York Native, January 27, 1992, "Patrick Angus's first one-man show alarms officials at University of California, Santa Barbara," by Douglas Turnbaugh
• Banner Graphic, November 18. 1991. "French Makes Gift to Swope Museum"
• Daily Nexus, October 11, 1991, "Art Professors Show Off What They Do After Class," by Tabea Linhard
• News Press, October 4, 1991, "Those Who Teach Can Also Do," by Joan Crowder
• Daily Nexus, October 3, 1991, The Art of UCSB, by Christian Lincoln
• Terre Haute Tribune, September 29, 1991, "Swope acquires 65 works from Greencastle printmaker," by Edward R. Quick
• The Evansville Courier, June 9, 1991, "Realism exhibition to open," p. F-1
• The Sunday Star-Ledger, April 28, 1991, One More Time
• The Press Courier, October 4, 1990, "Dual exhibits open AIDS month events," by Lisa McKinnon, p. 5
• The Ventura County Star-Free Press, October 2, 1990, p. B-1, "Silent Echoes," Artists with AIDS, and others fill Ventura College galleries, by Elena Jarvis
• Ventura College Press, September 26, 1990, Vol 65, No. I, "Ventura College Observes AIDS Awareness," by Carmen Guerra
• Santa Barbara News-Press, August 26, 1990, p. 1, "Professor restores bachelor bungalow," by Kathy Price
• Santa Barbara News-Press Scene, July 20, 1990, p. 24 "Art Walkabout, Santa Barbara Style"

Solo exhibitions

Solo Exhibitions have been shown in Tokyo & Nishinomiya, Japan; Dublin, Ireland; Los Angeles, Beverly Hills, San Francisco, Santa Cruz and Santa Barbara, California; New York City; and Seattle, Washington, USA.

• Signs of His Times Exhibit, Art, Design & Architecture Museum (2009)
• Allan Hancock College Art Gallery (1991)
• Art Space, Nishinomiya, Hyogo, Japan (1985)
• Figures, Forms & Exercises, De La Guerra Gallery, Santa Barbara (1984)
• Psychotropes, Art/Life Gallery, Santa Barbara (1982)
• Life Line, Santa Barbara City College Art Gallery (1979)
• Lotusland, Gallery de Silva, Santa Barbara (1979)
• Watercolors From The Richness and Complexity of Life, Gallery de Silva, Santa Barbara (1979)
• Paper Into Art, Source Gallery, San Francisco (1978)
• Labyrinths, New Harmony Gallery of Contemporary Art and Evansville Museum of Arts and Science (1977)
• New Harmony Gallery of Contemporary Art and displayed prints, drawings, and paper constructions (1976).
• Hands Across The Heavens, Source Gallery, San Francisco (1976)
• Casted Watercolors, Comsky Gallery, Rodeo Drive, Beverly Hills (1975)
• The Extended Hand, The United Arts Club, Dublin, Ireland (1974)
• Show Of Hands/Handiwork In Various Media, Comsky Gallery, Rodeo Drive, Beverly Hills (1974–1975)
• Inca Journey, Chapman College, Orange, California (1973)
• Santa Cruz Mountain Drawing, Upper Market Street Gallery, San Francisco (1972)
• Mayan Journey of Gary Brown, De Saisset Gallery, University of Santa Cruz and Santa Barbara Museum of Art (1971–1972)
• Tentaculi 2, James D. Kennedy Gallery, Holy Names College (1972)
• Ghost Riders in the Sky, Utah Museum of Fine Arts (1970)
• Folded Drawings, Fleischer-Anhalt gallery, Los Angeles (1967)
• Gary Brown, Ventura College, New Media Gallery, Venutra, California (1966, 1967)
• European Work, Evansville Museum of Arts, History and Science (1966)
• MFA, University of Wisconsin-Madison (1965)
• Felix Landau Gallery (1966–1968), Los Angeles, California
• Experimentations in Textural Surfaces, Schmuckler's Book Store, Boulder, Colorado (1962)

Public collections

• Santa Barbara Museum of Art, Santa Barbara, California
• Art, Design & Architecture Museum, Goleta, California
• National Portrait Gallery, Washington, D.C., part of the Smithsonian Institution
• 20th Century Fox
• Atlantic Richfield Corporation, Los Angeles, California
• Biblioteca Municipal Araraguara, Brasil
• Center for the Study of Political Graphics
• DePauw University, Greencastle, Indiana
• Chazen Museum of Art, Madison, Wisconsin
• Evansville Museum of Arts, History and Science (NEA Purchase Award)
• Glenbow Art Museum, Alberta, Canada
• George Eastman House (International Museum of Photography)
• Mills College Library
• New York Public Library (Special Press Collection, Rare Books Division)
• Pasadena Museum of Modern Art
• Salk Institute, La Jolla, California
• Santa Barbara City College
• Tyler Museum of Art, Texas
• University of California, Santa Barbara
• Utah Museum of Fine Arts (NEA Purchase Award)
• One Institute, USC, Los Angeles, California
• Scribe, collection of the ONE National Gay and Lesbian Archives at the University of Southern California Libraries, Los Angeles (1979)
• Villa Lila, Nijmegen, Netherlands

Publications

Books

• Selection of journals (2000)
• Gary H. Brown: A Survey Exhibition 1965–1985
• Gary H. Brown: Artist File John and Mable Ringling Museum of Art
• Drawing From Life, The Journal As Art (2005)
• Vanitas (Anubis Press), sketchbook of 1980–1982
• Papermaking (Watson-Guptill), by Jules Heller, 1978, P. 113 color reproduction with text
• Music Of The Troubadours (Ross-Erikson), figurative alphabet and numerals, typographic designer, Provencal series, edited by Peter Whigham, (1979)
• Posters Of Protest and Revolution (Adams & Dart, Bath, Somerset, England) selected and reviewed by Maurice Richards, (1979), pp. 22 and 29, Poster reproduced Date #211
• Hands Across The Heavens (Twinrocker), portfolio based on golden section, handmade paper, 1975
• Poem In Progress (Dryad Press, San Francisco), poems by John Logan, with drawings by Gary H. Brown (1975)
• Wave (Anubis Press), bio-feedback drawings, 1974
• Free Beaches (Capra Press), by Leon Elder, 1974
• Jaguar (Anubis Press), boxed portfolio with coverlet, prints processed 3M "Color-in-Color" Systems I & II prints, 1973
• Santa Cruz Mountain Poems (Capra Press), poems by Morton Marcus, (3 editions 1972–1992)
• Where The Oceans Cover Us (Capra Press), poems by Morton Marcus, (1972), title page portrait illustration of Morton Marcus
• The Blue Winged Bee (Anvil Press Poetry, London), poem by Peter Whigham 1969, dust jacket and frontispiece drawing
• Passage with Secret Gifts (Raven's Press @ UC Santa Barbara) by David Snyder 1968, illustrations by Gary H. Brown
• Adonis & Venus (Unicorn Press and Anvil Press Poetry), poem by Peter Jay, 1968 based on Bion's Elegy for Adonis and the Virgil of Venus
• The Dolphin With The Revolver In Its Teeth (Unicorn Press) poems by George Hitchcock, artwork by Gary H. Brown in the opening pages is silk-screened in blue on tissue (1967)
• 4 Women (Work In Progress), four short stories by Edward Looms, 1967, cover, illustrations and typography
• Catfish Goodbye (Anubis Press) poems by Tim Reynolds, illustrated with six offset prints by Gary H. Brown, limited edition of 50 copies signed by Reynolds and Brown, 1966
• Riding The Tide (Anubis Press) by John McDonald Grinde, illustrated by Gary H. Brown, 1966

Catalogs

• Decade of Protest: Political Posters From the United States. Vietnam and Cuba, 1965–1975, Smart Art Press, with Santa Monica Track 16 Gallery & the Center for the Study of Political Graphics (1966)
• New Painting, catalog cover for the Santa Barbara Museum of Art, (1971)
• Out Auction, limited edition blueprinted souvenir catalog designed by John Luckett
• Drawings Of The Human Head, exhibition catalog, Emmanuel Gallery, Denver, Colorado, (1989)
• John Bommer/VIBGYOR, memorial exhibition catalog organized for Santa Barbara Contemporary Arts Forum, (1988)
• AU (Art Unidentified), ten-year survey of art exhibitions, performances, and residencies at Artists Union, Nishinomiya, Hyogo, Japan

Posters

• Physiognomy, (1980), lithograph, Bremen, Germany
• Figurative Alphabet, (1979), Ross-Erikson publisher
• Nautilus Labyrinth, (1978), Source Gallery, San Francisco with Twinrocker Paper Company
• New Harmony: 1814–1976, (1976) lithograph of three colors commissioned by Historic New Harmony Bi-Centennial
• Mayan Journey, (1972), limited edition print, commissioned by the Santa Barbara Museum
• Johnson's Baby Powder/Made in U.S.A., (1968), three color silkscreen on a photograph by Felix Greene, world-wide distribution

Public lectures

• The Importance of Being an Earnest Artist, Hawkins House, Dublin, Ireland (1997)
• Roots, Recent Work and Thoughts, Emison Art Center, DePauw University, Greencastle, Indiana (1995)
• Body of Evidence, Institute of Gay & Lesbian Education, Los Angeles (1993)
• Enigma, The Phyllis Rothman Gallery, Fairleigh Dickson University, New Jersey (1991)
• Introduction of Christo with brief history of Robert Thomas, 1st Robert Thomas Memorial Lecture, UCSB (1991)
• Southern California Art and Artists, Allan Hancock College, Santa Maria (1991)
• Realism Today, Bristol-Myers Squibb Co. Lecture, Evansville Museum of Arts, History and Science, Indiana (1991)
• Physical and Spiritual Dislocation, Art Space, Nishinomiya, Japan (1995)
• Drawing Today," College Art Association Annual Meeting, San Francisco (1981)
• Strictly Academic? Atelierhaus, Worpswedse, Germany (1980)
• The Extended Hand, The Unified Arts Club, Dublin, Ireland (1975)
• Happy Unbirthday Lewis Carroll, UCSB Faculty Lecture Series (1975)
• In Search of Ancient Mexico, Santa Barbara Museum of Art (1972)

Set design

• Repeat Performance, UCSB Studio Theater (1976)
• Alice in Wonderland, UCSB Studio Theater (1975)
• Orpheus, by Jean Cocteau, Park Theater (sets and costumes) (1972)
• Set Designer for Mesker Memorial Amphitheater, Evansville, Indiana (1960–63)

Film/video

• Paint it Black, Vestron Pictures, featured film art credit, assistant production designer (1989)
• 1st Robert Thomas Memorial Lecture, Christo: The Umbrellas, Joint Project for Japan and the U.S.A., Isla Vista Theater, introduction of Christo with brief history of Robert Thomas (1991)
• A Brief History of Realism lecture given on May 6, 1991, at the Evansville Museum of Arts, History and Science as judge of "Realism Today Exhibition" sponsored by Bristol-Myers Squibb Corporation (1991)
• Portrait of a Bookstore as an Old Man (2003)

Honors

• Golden Key International Honour Society, 1995
• Who's Who in the West, 1995
• The International Directory of Distinguished Leadership, 1995
• Sarah House commission: "Courtyard of Hope and Fountain of Tears." 1994–1995
• Press Liaison, Venice Biennale: Art Against AIDS, 1993
• Juror, Santa Barbara Art Association, 1992
• Judge, "Realism Today" 9th annual competition sponsored by Bristol Myers Squibb, 1991
• Awarded "Lifetime Membership Forever" by the Board of Directors of the Santa Barbara, Contemporary Arts Forum, 1988
• Who's Who in American Art, (since 1984)
• Who's Who by International Biographical Center, Cambridge, England American Artists: An * Illustrated Survey of American Contemporaries; Krantz Company Publishers, Chicago, IL, 1985
• Intramural Grants, UCSB Academic Senate Research: "Artist – in Residence, Lecture, Exhibition and Sabbatical in Ireland, 1997; and in Japan, 1985 "Formulas for Oil Painting" 1984, "New direction in an Old Discipline: figurative Oil Painting," 1983
• College of Letters & Science Department Grant: "Drawing Laboratory", 1985
• Instructional Improvement Grant: Animation Class, 1983 -1984, resulting in the paper cut-out animation film " Fred and Spot", which received national screening in Animation Tournament Tour, 1985–1986
• UC Innovative Teaching Grants, "Papermaking Laboratory," 1979–1982
• Faculty, College of Creative Studies, Invited appointment, 1984–1985
• Juror, Santa Barbara Scholarship Foundation, 1982
• UC Regent's Creative Art Fellowship, 1978
• UC Institute for Creative Art Fellowship, 1977
• Center for Book Art, Hand Papermakers Conference, NYC, Travel Grant, 1977
• Statewide Liaison Committee on Creative Arts, 1971–1973
• National Endowment of the Arts Purchase by the Evansville Museum of Art and Science, 1975
• Eighth Tyler National art exhibit, Tyler Museum of Art in Tyler, Texas (1972)
• Committee to Rescue Italian Art, 1967
• The Elizabeth Greenshields Foundation, European Travel Study Grant, 1963–1964
• Museum Purchase Award winner, Evansville (1958)

See also

• Printmaking
• List of American artists 1900 and after

References

1. ^ "Brown display at Hancock". Times-Press-Recorder. Arroyo Grande, California. November 13, 1991. Retrieved November 13, 2022.
2. "Dorothy Aileen (Lynch) Brown". Evansville Courier and Press. Evansville, Indiana. December 16, 2020. Retrieved November 26, 2022.
3. "Teen-ager Of The Week", Evansville Press, Evansville, Indiana, December 26, 1957
4. ^ "University of Colorado Student Holding One-Man Art Exhibit". Evansville Courier and Press. Evansville, Indiana. February 7, 1962. Retrieved November 12, 2022.
5. "Historical Information for Gary Hugh Brown". Ancestry.com. Evansville, Indiana. 1959. Retrieved November 11, 2022.
6. "Gary Hugh Brown papers". DePauw University. Greencastle, Indiana. Retrieved November 12, 2022.
7. ^ "Young Artist's Giant Drawings A Strike for 'Independence'?". Louisville, Kentucky: The Courier-Journal. September 11, 1966. Retrieved November 11, 2022.
8. "Spectrum Summer 1967: Vol 9 Iss 2". University of California, Santa Barbara. Santa Barbara, California. 1967. p. 21. Retrieved November 15, 2022.
9. ^ "Art And Artist 'Delicate Chords'". Los Angeles Evening Citizen News. Hollywood, California. January 19, 1968. Retrieved November 12, 2022.
10. ^ Brown, Gary H. (1985). Gary H. Brown Art Space Japan. Nishinomiya, Hyogo, Japan. Retrieved November 10, 2022. {{cite book}}: |work= ignored (help)CS1 maint: location missing publisher (link)
11. Brown, Gary Hugh (2022). "Book Three: California". Right Time, Right Place. Santa Barbara, California: Unpublished.
12. ^ Brown, Gary Hugh (2022). "Book Four Kimberly". Right Time, Right Place. Santa Barbara, California: Unpublished.
13. "Baby Powder Outrage — CSPG Poster of the Week". Center for the Study of Political Graphics. May 22, 2020. Retrieved November 15, 2022.
14. Hagopian, Patrick (2011). The Vietnam War in American Memory Veterans, Memorials, and the Politics of Healing. University of Massachusetts Press. ISBN 9781558499027. Retrieved November 11, 2022.
15. Gumberts, William (June 25, 1969). "Native artist Gary Brown scores big". Evansville Press. p. 13.
16. "Artweek 1971-01-16: Vol 2 Iss 3". Spaulding Publishing Inc. January 16, 1971. p. 8. Retrieved November 15, 2022.
17. ^ "Evansville native wins national art show prize". Evansville Press. Evansville, Indiana. February 10, 1972. Retrieved November 27, 2022.
18. "Brown, Gary H., Mayan Journey of G. B." UCSB ADA Museum Omeka. Goleta, California. Retrieved December 7, 2022.
19. "Artweek 1972-02-26: Vol 3 Iss 9". Spaulding Publishing Inc. February 26, 1972. Retrieved November 15, 2022.
20. "A city boy in the land or redwoods". Santa Cruz Sentinel. Santa Cruz, California. May 1, 1992. Retrieved November 15, 2022.
21. ^ Marcus, Morton (1972). The Santa Cruz Mountain Poems. Capra Press. ISBN 978-0-912264-46-2. Retrieved November 15, 2022.
22. "Mountain Man Writes Poetry". Santa Cruz Sentinel. Santa Cruz, California. November 12, 1972. Retrieved November 15, 2022.
23. "A Sampling From The Local Galleries". The San Francisco Examiner. San Francisco, California. November 5, 1972. Retrieved November 27, 2022.
24. "community calendar". Evansville Press. Evansville, Indiana. August 28, 1976. Retrieved November 27, 2022.
25. Elder, Leon (1974). Free beaches: A Phenomenon of the California Coast. Santa Barbara, California: Capra Press. ISBN 9780912264752. Retrieved November 15, 2022.
26. "Hand Poster". collection.imamuseum.org. Retrieved November 14, 2022.
27. ^ "Art Calendar". The Courier-Journal. Louisville, Kentucky. August 29, 1976. Retrieved November 15, 2022.
28. Ilves, Dan (1978). Stonecloud. Los Angeles, California. {{cite book}}: |work= ignored (help)CS1 maint: location missing publisher (link)
29. "Knossos Labyrinth II". Santa Barbara Museum Of Art. Santa Barbara, California. 1977. Retrieved November 27, 2022.
30. ^ Richard Arnes (January 30, 1972), "Gary Brown Turns To Affirmation", News Press, Santa Barbara
31. "Brown, Gary H., Fortune". UCSB ADA Museum Omeka. Goleta, California. Retrieved December 7, 2022.
32. ^ Dr. Sophia Kidd (June 18, 2018). "Gary H. Brown's 'Anthology'". artcityventura.wordpress. Retrieved November 10, 2022.
33. "Calendar Art". The Los Angeles Times. Los Angeles, California. November 7, 1982. Retrieved November 14, 2022.
34. ^ Deirdre O’Shea (April 8, 2009). "University Art Museum Presents 'Signs of His Times,' a Gary H. Brown Collection". The Current. Santa Barbara, California. Retrieved November 10, 2022.
35. "Dreamworks, An Interdisciplinary Quarterly". Human Sciences Press, Inc. 5 (1): 18. 1986. Retrieved November 11, 2022.
36. Douglas Turnbaugh (January 27, 1992), New York Native: Patrick Angus's first one-man show alarms officials at University of California, Santa Barbara
37. Lillian Kuroasaka (1997), Artist's Seasonal Images Give Life to AIDs Book Covers
38. "Out Inside. Gary H. Brown". artsites.ucsc.edu. Retrieved November 10, 2022.
39. "Sarah House, Santa Barbara". www.sarahhousesb.org. Santa Barbara, California. Retrieved November 21, 2022.
40. "Portrait of a Bookstore as an Old Man". IMDB. 2003. Retrieved November 15, 2022.
41. Gary H. Brown (April 9, 2009), "Tea Fire Follow-Up", The only Villager, Santa Barbara, California
42. "Thursday, Nov. 8". Baraboo News Republic. Baraboo, Wisconsin. April 2, 2009. Retrieved November 15, 2012.
43. Staff Writer (April 9, 2009), "New UAM Exhibit Honors UCSB's Brown", Daily News, Santa Barbara, California
44. "Gary Brown, UCSB Professor Emeritus of Art, lost his home, his art collection, and nearly all his valued possessions in the Tea Fire but vows new "sunset club" will rise from the ashes", Montecito Journal, Montecito California, April 2, 2009
45. "Calendar Exhibits". Ventura County Star. Ventura, California. May 18, 2018. Retrieved November 15, 2022.
46. "2020 SCREAM Nov. 3-Dec. 10. 2020". LBCC Art Gallery. December 10, 2020. Retrieved November 15, 2022.
47. Brown, Gary Hugh (2022). "Book Ten". Right Time, Right Place. Santa Barbara, California: Unpublished.
48. "Art News". The Los Angeles Times. Los Angeles, California. January 20, 1980. Retrieved November 13, 2022.
49. "Art remains Artist UCSB art Professor emeritus Gary H. Brown assembles a show called "Signs of His Times"", Santa Barbara New Press, Santa Barbara, California, April 9, 2009
50. "Exhibits". The Tribune. San Luis Obispo, California. October 20, 1979. Retrieved November 13, 2022.
51. "University Bulletin A Weekly Bulletin for the Staff of the University of California". University of California. 23. California: 128. 1974.
52. "UMFA Utah Museum of Fine Arts". Utah Museum of Fine Arts. Utah. Retrieved November 12, 2022.
53. "Gary Hugh Brown". National Portrait Gallery. Washington, D.C. Retrieved November 10, 2022.
54. ^ New, Jennifer (2005). Drawing from Life The Journal as Art. Princeton Architectural Press. p. 90. ISBN 9781568984452. Retrieved November 11, 2022.
55. "Gary H. Brown". John and Mable Ringling Museum of Art. Sarasota, Florida. Retrieved November 11, 2022.
56. "Where the oceans cover us: poems". Capra Press. Santa Barbara, Calif. 1972. Retrieved November 15, 2022.
57. "Cronopios 1968-05: Iss 5". Cronopios. 1968. Retrieved November 15, 2022.
58. Reynolds, Tim; Brown, Gary Hugh (1966). Catfish Goodbye. Anubis Press. Retrieved November 10, 2022.
59. "'Realism Today' juror Brown will lecture at museum May 6". Evansville Courier and Press. Evansville, Indiana. April 26, 1991. Retrieved November 27, 2022.
60. "Portrait of a Bookstore as an Old Man". IMDB. 2003. Retrieved November 29, 2022.
61. "Who's who in American art". R.R. Bowker. 1984. Retrieved November 15, 2022.

External links

• University of California, Santa Barbara General Catalog 2007/2008

• 1941 births
• Painters from California
• Artists from Indiana
• 20th-century American painters
• 21st-century American painters
• Living people
• University of California, Santa Barbara faculty
• American LGBT artists
• People from Evansville, Indiana