The Wanderers, 2019. Acrylic on canvas, 54 x 104 inches

The Wall of Broken Dreams, 2020. Acrylic on canvas, 43 x 64 inches

Desert Heat, 2020. Acrylic on canvas, 42 x 62 inches

Hope, 2020. Acrylic on 100% rag paper mounted on board, 41 x 26 inches   sold

Into the Night, 2020. Oil on canvas, 46 x 36 inches  sold

Solitude, 2019. Acrylic on canvas 52 x 40 inches

Joy, 2020. Acrylic on mylar, 22 x 22 inches sold

Anguish, 2020. Acrylic, collage, lead and graphite on 100 % rag paper mounted on board, 17 x 18”  sold

Sunrise on the Lake, 2020. Oil on canvas, 30 x 40 inches

Storm on the Lake. 2020. Acrylic on canvas, 30 x 40 inches  sold

Strata, 2018. Acrylic on Japanese paper, 21.75  x 16.5 inches  sold

Morning Mist, 2020. Acrylic on 100% rag paper, 15 x 22 inches   sold

Evening Sky 2020   Oil on 100% rag paper, 14 x 22 inches   sold

Shallows, 2020.  Acrylic on 100% rag paper, 15 x 22 inches  sold

Clouds, 2020. Acrylic on 100% rag paper, 11 x 11 inches  sold

North Sea #1, 1990/2020. Oil on 100% rag board, 14.5 x 16 inches  sold

North Sea #2, 1990/2020. Oil on 100% rag board, 14.5 x 16 inches  sold

Mirage, 2016. Acrylic on 100% rag paper, 14 x 14 inches  sold

Autumn Reflections, 2020. Acrylic on 100% rag paper, 11 x 12 inches

The Wave, 2020. Acrylic on 100% rag paper, 16 x 22 inches sold

The Wanderers, 2019. Acrylic on canvas, 54 x 104 inches

The Wall of Broken Dreams, 2020. Acrylic on canvas, 43 x 64 inches

Desert Heat, 2020. Acrylic on canvas, 42 x 62 inches

Hope, 2020. Acrylic on 100% rag paper mounted on board, 41 x 26 inches

Into the Night, 2020. Oil on canvas, 46 x 36 inches

Solitude, 2019. Acrylic on canvas 52 x 40 inches

Joy, 2020. Acrylic on mylar, 22 x 22 inches

Anguish, 2020. Acrylic, collage, lead and graphite on 100 % rag paper mounted on board, 17 x 18”

Sunrise on the Lake, 2020. Oil on canvas, 30 x 40 inches

Storm on the Lake. 2020. Acrylic on canvas, 30 x 40 inches

Strata, 2018. Acrylic on Japanese paper, 21.75  x 16.5 inches

Morning Mist, 2020. Acrylic on 100% rag paper, 15 x 22 inches

Evening Sky 2020   Oil on 100% rag paper, 14 x 22 inches

Shallows, 2020.  Acrylic on 100% rag paper, 15 x 22 inches

Clouds, 2020. Acrylic on 100% rag paper, 11 x 11 inches

North Sea #1, 1990/2020. Oil on 100% rag board, 14.5 x 16 inches

North Sea #2, 1990/2020. Oil on 100% rag board, 14.5 x 16 inches

Mirage, 2016. Acrylic on 100% rag paper, 14 x 14 inches

Autumn Reflections, 2020. Acrylic on 100% rag paper, 11 x 12 inches

The Wave, 2020. Acrylic on 100% rag paper, 16 x 22 inches

 

She Alone, 2012. Acrylic and oil pastel on 100% rag paper, 30 x 22″

Departure, 2012. Acrylic and graphite on 100% rag paper mounted on museum board and wood, 41 x 26″ Sold

How Do I Love Thee, 2011. Acrylic and graphite on 100% rag paper, 30 x 22″ Sold

Solace, 2013. Acrylic and charcoal on 100% rag paper mounted on museum board and wood, 41 x 26″ Sold

Study for the Thread Will Not Be Broken, 2013-14. Acrylic on paper, 22.5 x 17.75″ Sold

The Stranger, 2012. Acrylic and graphite on 100% rag paper, 41 x 26″ Sold

The Thread Will Not Be Broken, 2012. Acrylic and graphite on 100% rag paper mounted on museum board and wood
41 x 26″ Sold

Study for Amicizia, 2014. Acrylic and graphite on hand made paper, 19 x 14″ Sold

The Memories Within, 2014. Acrylic and graphite on 100% rag paper mounted on canvas, 46 x 36″ Sold

They Were Still There, 2009. Acrylic on 100% rag paper, 41 x 26″ Sold

House Dreams, 2004. Acrylic and graphite on 100% rag paper, 22 x 30″ Sold

Always There, 2004. Acrylic, graphite, and collage on 100% rag paper, 30 x 22″ Sold

Letters, 2004. Acrylic and collage on 100% rag paper, 30 x 22″

The Sketches, 2014. Acrylic, graphite and collage on 100% rag paper, 30 x 22″ Sold

The Night Gathering, 2014. Acrylic and graphite, pastel on mylar, 19.25 x 16.25″ Sold

Conversation, 2014. Acrylic, paper, conte crayon on canvas, 14 x 14″

Refuge, 2012. Acrylic and charcoal on 100% rag paper, 19 x 19″ Sold

Evocation, 2012. Acrylic and oil pastel on 100% rag paper, 19 x 19″ Sold

 

Amicizia (Friendship), 2014. Acrylic on 100% rag paper mounted on canvas, 50 x 40″ Sold

Anne Slaughter: Contrasts
10 October – 15 November 2020

Exhibition page>

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Anne Slaughter
Connections
10 October – 16 November 2014

Exhibition page >

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 Terra Incognita: Forty Years of Anne Slaughter, 1966-2006
in collaboration with Second Street Gallery

3 March – 29 April 2006

Selected Solo Exhibitions

2006	Terra Incognita: Anne Slaughter, Forty Years,Second Street Gallery, Charlottesville, VA ( Full-color catalogue available)
2001	Lost Writings, Troyer Fitzpatrick Lassman Gallery, Washington, DC
1999	Fields of Memories,McGuffey Art Center, Charlottesville, VA
1998	Effacements: Fading Memories, Troyer Fitzpatrick Lassman Gallery, Washington, DC
1997	Paintings, Troyer Fitzpatrick Lassman Gallery, Washington, DC (two-person)
1996	Lost Messages, Bivins Gallery, Duke University, Durham, NC
1995	The Memory of Walls, Troyer Fitzpatrick Lassman Gallery, Washington, DC
1994	Violence: The Aftermath (installation), Daryl Reich Rubenstein Art Gallery, Sidwell Friends School, Washington, DC
1993	Violence: The Aftermath, McGuffey Art Center, Charlottesville, VA Paintings, Miroir d’Encre, Brussels, Belgium White Patterns, McGuffey Art Center, Charlottesville, VA
1992	Masada Series,Piedmont Virginia Community College, Charlottesville, VA
1991	Vestiges, ARC Gallery, Chicago, IL From the Sahara, McGuffey Art Center, Charlottesville, VA
1990	Vestiges, McGuffey Art Center, Charlottesville, VA
1987	Ancient Landscapes, Gallery IV, Alexandria, VA
1986	Earth Fragments, McGuffey Art Center, Charlottesville, VA
1985	Collages, McGuffey Art Center, Charlottesville, VA
1984	Arid Landscapes, McGuffey Art Center, Charlottesville, VA
1983	Sere Landscapes, Emerson Gallery, McLean, VA New Works, Galerie l’Angle Aigu, Brussels, Belgium
1980	Landscapes and Collages, Galerie l’Angle Aigu, Brussels, Belgium
1979	Recent Works, Downtown Library Gallery, Roanoke, VA Invitational, Babcock Gallery, Sweet Briar College, Lynchburg, VA
1978	Landscapes,McGuffey Art Center, Charlottesville, VA
1976	Landscapes,McGuffey Art Center, Charlottesville, VA

Selected Group Exhibitions

2006	Alumni Show, McGuffey Art Center, Charlottesville, VA WPA/Corcoran Select, Corcoran Gallery of Art, Washington, DC (co-curator: Sally Troyer)
2005	Faces of the Fallen, National Memorial for Women in the Military, Arlington, VA WPA/Corcoran Select, Corcoran Gallery of Art, Washington, DC The Family of Law, University of Virginia Law Library, Charlottesville, VA
2003	30 Years: Three Decades of New Art at Second Street Gallery, Second Street Gallery, Charlottesville, VA Summer Show, Troyer Art Gallery, Washington, DC
2002	9.11.01 Reflection, part II, Fayerweather Gallery, University of Virginia, Charlottesville, VA Wintergarden, Les Yeux du Monde, Charlottesville, VA Fold Here: 3D Paper Sculptures, Ellipse Art Center, Arlington, VA
2001	Through the Looking Glass: Celebrating the Octagon’s Bicentennial, The Octagon, Washington, DC (Curator: Vivienne Lassman) 10+10 American and Italian Artists: The Sea, The Color of Wine, Scudere Medicee, Poggio a Caiano, Italy
2000	Moving into the Millenium: Darkness, Les Yeuxdu Monde, Charlottesville, VA Virginia Connections, 1708 Gallery, Richmond, VA
1999	University of Virginia Law Library, Charlottesville, VA Myth, Memory and Imagination: Selections from the Collection of Julia J. Norrell, McKissick Museum, University of South Carolina, Columbia, SC Get Surreal: Reviving the Exquisite Corpse, Second Street Gallery, Charlottesville, VA
1997	Juried Show, 1708 Gallery, Richmond, VA (Juror: Donald Kuspit)
1995	Totems & Icons, Crestar Bank, Richmond, VA (Curator: Georgia Coopersmith)
1994	Artemis XVII (traveling exhibition), Washington & Lee University, Lexington, VA Artemis XVII (traveling exhibition), Roanoke College, Salem, VA Winners of Juried Exhibition 1993, Greater Reston Art Center, Reston, VA Commissions, Troyer Fitzpatrick Lassman Gallery, Washington, DC
1993	Ephemerides, Miroir d’Encre Art Gallery, Brussels, Belgium American Art Alumni Collection, McCormick Museum, Princeton University, Princeton, NJ (Juror: Thomas Hoving) Explorations, Troyer Fitzpatrick Lassman Gallery, Washington, DC Ecritures, Miroir d’Encre Art Gallery, Brussels, Belgium
1992	Peninsula Fine Arts Center Juried Exhibition,Peninsula Fine Arts Center, Newport News, VA (Juror: Neal Benezra)
1991	Ephemerides, Miroir d’Encre Art Gallery, Brussels, Belgium Select, James Madison University, Harrisonburg, VA (Juror: Julia Boyd)

Corporate and Public Collections

University of Virginia Art Museum Art Museum of Western Virginia CSX Corporation Suez Energy International Trammel Crowe Corporation University of Virginia Hospital Shenandoah Life Insurance Co. University of Virginia Law School McGuire Woods SunTrust Bank Hunton & Williams Central Fidelity Bank-Virginia Collection Akin & Gump Bank of Virginia Dickstein Shapiro & Morin The World Bank Julia Norrell Collection

Awards and Fellowships

1995	Fellow, Virginia Center for the Creative Arts, Sweet Briar, VA
1993	Award of Honor, Environmental: Peninsula Fine Arts Center Juried Exhibition, Newport News, VA (Juror: Susi Gablik) Certificate of Distinction, Greater Reston Art Center Juried Exhibition, Reston, VA (Juror: Jeremy Strick)
1975	Purchase Award, Shenandoah Life Insurance Company, Virginia Museum of Fine Arts Regional Juried Exhibition, Roanoke Fine Arts Center, Roanoke, VA (Juror: Roy Slade)

Selected Bibliography

2006	Stoddard, Leah. “Terra Incognita and the Intuitive Archeologist” Catalogue Terra Incognita – Anne Slaughter 40 Years 2006) Troyer, Sally, “Anne Slaughter : Layers of Emotion&rdquo Catalogue : Terra Incognita – Anne Slaughter 40 Years (2006) Lassman, Vivienne. “Nature Laid Bare: Anne Slaughter’s Artistic Journey&rdquo Catalogue : Terra Incognita – Anne Slaughter 40 Years (2006) Latter, Ruth. “Memories of War Reflect on Canvas&rdquo Daily Progress (March 16, 2006): D1 Maurer, David. “Solid Perfection” Daily Progress (April 9, 2006): C1 Laura, Parsons. “Recollection: Slaughter’s Sentimental Nature” The Hook (April 13, 2006): 44 Michael, Alexander. “Terra Incognita 40 Years of Anne Slaughter” Albemarle Magazine(April/May 2006): 20
2005	“Corcoran Gallery of Art, Washington, DC: Michael Fitts and Anne Slaughter, March 2005,” Albemarle Magazine (February/March 2005): 24.
2001	O’Sullivan, Michael. “A Tale of Two Houses,” The Washington Post Weekend (February 9, 2001): 55.
2000	Goodwin, Lauren. “Anne Slaughter: A True World Artist,” Southern Accents (March/April 2000). www.southernaccents.com/art/slaughter/asp Kramer, Jennifer. “Memories Redux,” Southern Accents (March/April 2000): 94-97.
1999	Latter, Ruth. “Colorful Contemporary Figures,” The Daily Progress (July 22, 1999): D1.
1998	Protzman, Ferdinand. “Reflections on Memory,” The Washington Post (October 24, 1998). Wall, Donna Dorian. “Paper Chase,” Southern Accents (May/June 1998): 122.
1997	Protzman, Ferdinand. “Bronze and Ochre,” The Washington Post (February 1, 1997): C2. Bates, Anne. “Must Sees,” Ken ODA’s Art Newsletter (February 1997): 19.
1995	Protzman, Ferdinand. “Memories That Walls Can Reveal,” The Washington Post (December 2, 1995): C2. Rotner, Sheilah. “Must Sees,” Ken ODA’s Art Newsletter (December 1995): 18.
1994	Atkinson, Linda. Artemis XVII,Roanoke, VA (March 1994). Weinstein, Ann. “Art inView,” The Roanoke Times (February 1994): 11.
1993	Purvis, Mike. “Art Reviews,” Washington Review (October/November 1993): 17. Fleming, Lee. “When the Spirit is Thrilling,” The Washington Post (July 10, 1993): D2. Latter, Ruth. “Slaughter’s ‘Violence’ Leaves Room for Healing,” The Daily Progress (June 17, 1993): D1. Margulies, Stephen.“Review: Exhibition,” The Daily Progress (June 10, 1993). O’Sullivan, Constance Lord. Environmental: Peninsula Fine Arts Center Juried Exhibition, Newport News: Peninsula Fine Arts Center, 1993. [exhibition catalogue]
1992	Latter, Ruth. “McGuffey,” The Daily Progress (December 1992): D4. Mook, Bea. “Ancient Legacy Flowers at PVCC,” The Daily Progress (September 14, 1992): 2. O’Sullivan, Constance Lord. Peninsula Fine Arts Center Juried Exhibition, Newport News: Peninsula Fine Arts Center, 1992. [exhibition catalogue]
1990	Latter, Ruth. “Styles Vary, but Artists Mirror Human Experience,” The Daily Progress (April 14, 1990): 3. Latter, Ruth. “Slaughter Exhibit Rich, Inspirational,” The Daily Progress (May 1988). Clark, William. The William and Mary Review, vol. 26, no. 1, 1988.
1987	Latter, Ruth. “Landscapes Reshaped by Artist,” The Daily Progress (September 27, 1987).
1986	“McGuffey Exhibit,” The Daily Progress (November 23, 1986): E4. Latter, Ruth. “Emotions Overflow Downtown,” The Daily Progress (April 14, 1985): D3.
1984	“Art Center to Display Landscapes,” The Daily Progress (October 6, 1984): 3. Latter, Ruth. “Decorative Banners Again a Popular Art Form,” The Daily Progress (July 1, 1984): F6. Ripe, Peter. 1984 Roanoke Biennial, Roanoke: Roanoke Museum of Fine Arts, 1984. [exhibition catalogue]
1983	“Galerie l’Angle Aigu Review,” Le Soir (October 1983).
1982	Latter, Ruth. “Art Exudes Calm Atmosphere,” The Daily Progress (May 16, 1982).
1979	“Art for All,” Roanoke Times and World-News (February 4, 1979).
1978	“McGuffey Exhibit,” The Daily Progress (June 25, 1978).
1976	Latter, Ruth. “‘Good Views’ Interest Artists,” The Daily Progress (June 13, 1976): E11.
1975	Hathaway, Walter. Roanoke Fine Arts Center Juried Artists Exhibition 1975, Roanoke: Roanoke Fine Arts Center, 1975. [exhibition catalogue]

Artist’s Statement: Connections

My passion has always been to renew my self in the natural world, to linger in the vastness of the land, the water and the sky. But also to explore the physical and emotional evidence of the passage of time on that world and on our human presence. I wonder at the beauty of the patina of earth and water on a smooth rock or a desert cliff, the bleached ruins of an ancient city, the layers of paint on a distressed wall or a weathered door, the faded traces of lost writings… The markings of time and the elements speak to me in their subtle colors and textures, and in the layering of our collective and individual memories, the continuity of our human endeavors and yet also of our temporality in a universe that transcends us. For many years, this has been the underpinning of my work as an artist. But in this new body of works, I have for the first time attempted to make the human figure the main focus of my paintings.

At this stage of my life, I needed to address strong emotions that kept surfacing as ripples deep in an ocean become a continuous, powerful wave. The great loss of a childhood friend, a soulmate, was at its edge. But also surging and ebbing were the threads that weave the fabric of human friendship, joys and play, but also loneliness, pain and more and more, irretrievable losses.

I realized, over many months of painting, that as I was layering, transforming and burnishing my materials into distressed surfaces and human figures, I was also continuing the theme of my former work by trying to express the passage of time on the layers of feelings and emotions in our lives. In my mind, I was closing a circle.

Anne Slaughter
October 7, 2014

 

Anne Slaughter has had over 20 solo and many group exhibitions in the United States and Europe. She showed her work for a decade at the Troyer, Fitzpatrick & Lassman Gallery in Washington DC, and has been included in curated shows at the Corcoran Gallery of Art. Her work has been extensively reviewed, including several articles in the Washington Post by critic Ferdinand Protzman and in the Art Section of Southern Accents magazine.

Slaughter’s works are in corporate and private collections across the United States and Europe. One of her work has recently been acquired by the University of Virginia Art Museum. She was educated at the University Libre de Bruxelles in Brussels, Belgium, where she was born, and at the University of Virginia in Charlottesville, VA, where she was one of the founders of the McGuffey Art Center.

Born in Brussels in 1934, Slaughter was six when the Germans marched into Belgium. Her life and travels around the world find expression in her landscapes, abstractions, and later installation and word pieces. Each body of work in her development to 2006 was represented, all touching upon themes constant in her art: the passage of time, the love of the natural world, and the desire to evoke profound feelings through surface materiality. The walls of bombed out buildings, seascapes of Belgium and landscapes of pastoral Virginia, and the earth in all its connotations – all these experiences inform Slaughter, whose tactile expressionism seeks to communicate “our need for silence and a sense of the infinite mystery that is still part of the human condition.”