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DTSTAMP:20260614T100903
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SUMMARY:George Adams Gallery at FOG Design + Art
DESCRIPTION:The George Adams Gallery presents a selection of paintings and drawings by Bay Area artist Craig Calderwood at FOG FOCUS 2024. \nCalderwood’s versatile practice includes drawings\, paintings\, and sculptures\, often featuring intricate patterns and “lowbrow” materials. Their work is deeply autobiographical\, offering a reflection on their childhood experiences and their identity as a queer and trans person. Calderwood delves into concepts of gender fluidity\, desire\, biodiversity\, and otherness through their portrayal of androgynous figures and body parts that possess unfamiliar qualities. This effect is amplified by elaborate and highly detailed patterning\, effectively concealing any discernible secondary sex characteristics and encouraging what Calderwood describes as a sense of “genderlessness.” \nCalderwood’s distinct vocabulary of symbols and patterns seen throughout their work is rooted in the coded languages historically used by queer and trans communities\, and is informed by extensive historical research\, personal narratives\, and pop-cultural moments. Materiality is also a significant aspect in their work\, both conceptually and autobiographically\, as their use of textiles recalls their father\, a professional upholsterer during their childhood. Calderwood’s paintings\, which they refer to as tapestries\, begin with a patchwork of upholstery fabrics\, and the tactile surface becomes an integral part of the work. Combining textiles with fabric paint\, polymer clay\, and pipe cleaners offers a commentary on the perception of these materials as mere craft supplies. By subverting the intended use of these materials\, Calderwood blurs the binary of art and craft. \nIncluded in the presentation are recent paintings Bad Panacea\, Bassoon Song for a Sad Baguette\, and Silver Water Turns Her Blue (2023) which depict still lives after models Calderwood created with fruits and vegetables while working at a grocery store. The tapestries are coded with comic-like narratives imbued with personal meaning throughout the intricate borders. Also included are highly detailed drawings\, all pen and ink\, which portray specific instances from Calderwood’s childhood. \nCalderwood’s work made its debut at George Adams Gallery in Shapeshifters\, an exhibition of four artists from the Bay Area in 2021. In 2022\, they were honored as the Eureka Fellowship Grantee\, and served as the Art+Process+Ideas (API) artist in residence at Mills College\, Oakland\, where their work was exhibited at the Mills College Art Museum. In the past year\, Calderwood was featured in Figure Telling at the di Rosa Center for Contemporary Art in Napa\, Fight and Flight at the Museum of Craft and Design\, San Francisco\, and Bay Area Now at the Yerba Buena Center for the Arts. Calderwood was selected by the San Francisco Arts Commission to create artwork for the three-story atrium of the Harvey Milk Terminal at the San Francisco International Airport\, and their mural is set to be unveiled in 2024. Currently\, Calderwood is an artist in residence at Recology\, San Francisco. \nCraig Calderwood (b. 1987\, Bakersville\, CA) was raised in California’s San Joaquin Valley. From a young age\, Calderwood found drawing to be an outlet and tool for self-expression\, which later led to their interest in pursuing art. After taking classes at Fresno City College\, they relocated to San Francisco\, CA in 2011\, where they currently live and work.
URL:https://artinamericaguide.com/event/george-adams-gallery-at-fog-design-art/
LOCATION:FOG Design+Art\, Fort Mason Center\, 2 Marina Blvd\, San Francisco\, CA\, CA\, 94123\, United States
CATEGORIES:Art Fair
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240105T100000
DTEND;TZID=America/New_York:20240217T180000
DTSTAMP:20260614T100903
CREATED:20231218T200323Z
LAST-MODIFIED:20231218T200931Z
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SUMMARY:"Going Our Way\," a group exhibition of paintings\, drawings\, and sculpture
DESCRIPTION:The George Adams Gallery is pleased to present Going Our Way\, a group exhibition of paintings\, drawings\, and sculptures by Robert Arneson\, Joan Brown\, Roy De Forest\, Viola Frey\, M. Louise Stanley\, and William T. Wiley. Known for its enduring commitment to art from the San Francisco Bay Area\, the exhibition maintains the gallery’s tradition of championing the region’s artistic heritage. The artists included are connected through the unique influence of the Bay Area on their work\, and the title reflects each artist’s response to prevailing trends over a span of three decades. While they worked in different styles and across media\, the six artists are united in their rejection of the impersonal\, “objective” attitude that informed the dominant West Coast trends of Formalism\, Photorealism and New Abstraction. Instead\, each in their own way celebrates an intimate\, subjective\, and idiosyncratic autobiographical expression – an approach that the exhibition traces from their earliest work in the 1960s and continues through the 1970s and 1980s. \n  \nThe artists included in the exhibition all lived and worked in the San Francisco Bay Area. Arneson\, Brown and Frey were born in California\, while De Forest\, Stanley and Wiley all moved to the Bay Area to study art. Brown\, De Forest and Wiley attended the San Francisco Art Institute (then the California School of Fine Arts) while Arneson\, Frey and Stanley studied at the California College of Arts and Crafts. From the early 1960s through the 1980s Arneson\, De Forest and Wiley were on the faculty at the University of California\, Davis. Brown taught at UC Berkeley\, where she eventually chaired the Art Department. Frey and Stanley both taught at the California College of Arts and Crafts. Not to be overlooked\, Arneson\, Brown\, De Forest and Wiley were represented by the same galleries on both coasts. \n  \nThe educational and professional connections between the exhibited artists highlight the collaborative and supportive environment that flourished in the Bay Area during this period. Their shared experiences at institutions (such as the San Francisco Art Institute and the California College of Arts and Crafts)\, as well as their subsequent roles as educators\, highlight the symbiotic relationship between their artistic development and the nurturing community they helped cultivate. \nRobert Arneson (b. 1930\, Benicia\, California\, d. 1992\, Benicia\, California)\, is known as one of the pre-eminent American sculptors of his generation. Arneson earned his BFA from the California College of Arts and Crafts and his MFA in ceramics from Mills College. He founded the ceramics program at the University of California\, Davis where he would remain on faculty for nearly thirty years. In the early 1960s\, Arneson developed an irreverent and humorous approach to sculpture\, later dubbed as “Funk.” He used self-portraiture as a method to examine the human condition: a theme present throughout his work until the end of his life. Arneson exhibited widely during his career and is recognized as a key figure in the re-consideration of ceramics as a sculptural medium. His work can be found in the collections of the San Francisco Museum of Modern Art; Metropolitan Museum of Art\, New York; Hirshhorn Museum and Sculpture Garden\, Washington D.C.; and Museum of Contemporary Art\, Chicago\, Illinois\, among others. He has been the subject of several traveling retrospectives\, in 1974\, organized by the Museum of Contemporary Art\, Chicago; in 1986-87\, organized by the Des Moines Art Center\, Iowa\, and posthumously in 1993\, at the Fine Arts Museum of San Francisco\, California. \n  \nJoan Brown (b. 1938\, San Francisco\, California\, d. 1990\, Puttaparthi\, India) is considered a leading figure in the second generation of the Bay Area Figurative movement. Early on in her career\, she received praise for dense Abstract Expressionist paintings\, however she ultimately pivoted from the style in favor of autobiographical\, figurative paintings. Her portraits and self-portraits were painted in a purposefully flat and colorful style. Brown earned both her BFA and MFA at the California College of Arts and Crafts and was a professor emeritus at UC Berkeley. Brown’s work is represented in many institutional collections across the country\, including the Museum of Modern Art\, New York; the Hirshhorn Museum and Sculpture Garden\, Washington D.C.; and the Crystal Bridges Museum of American Art\, Arkansas. Her work is currently on tour in her most comprehensive retrospective to date. It opened at the San Francisco Museum of Modern Art\, California in 2022 before traveling to the Carnegie Museum of Art\, Philadelphia. Its last stop will be at the Orange County Museum of Art\, California\, where it will be on view from February 1 – May 7\, 2024. \n  \nRoy De Forest (b. 1930\, North Platte\, Nebraska\, d. 2007\, Vallejo\, California) was a painter\, sculptor\, and educator\, and is considered a major contributor to both the Funk art and Nut art movements. De Forest earned his BA from the California School of Fine Arts and his MFA from San Francisco State University. De Forest was a professor at UC Davis for nearly three decades. He is known for his paintings depicting richly colored and textured fantasy worlds containing flat\, stylized landscapes in juxtaposition with cartoon-like animals and human figures. He exhibited widely during his lifetime\, and was the subject of two major retrospectives\, one in 1974\, and posthumously in 2017\, organized by the Oakland Museum\, California. His work can be found in major public collections internationally\, including the San Francisco Museum of Modern Art\, California; the Whitney Museum of American Art\, New York; and the Art Institute of Chicago\, Illinois\, among others. \n  \nViola Frey (b. 1933\, Lodi\, California\, d. 2004\, Oakland\, California) was an artist known for her monumental ceramic sculptures\, smaller figural groupings\, and plates\, though her practice also encompassed painting\, drawing\, and photography. She received her BFA from the California College of Arts and Crafts and her MFA from Tulane University. Frey returned to the California College of Arts and Crafts as a professor in 1965\, ultimately becoming chair of the ceramics program. Frey’s artistic style is characterized by an emphasis on the human figure\, a robust visual vocabulary\, and energetic color and line. Her work has been exhibited extensively and is included in the Metropolitan Museum of Art\, New York; the Smithsonian American Art Museum\, Washington\, D.C.; and the Los Angeles County Museum of Art\, California\, among others. \n  \n\n Louise Stanley (b. 1942\, Charleston\, West Virginia) is known for work that explores narratives of both current and fictitious events and often incorporates social commentary and satire. She moved to the San Francisco Bay Area in 1965\, where she received her BFA and MFA in painting from the California College of Arts and Crafts. She often employs “real” space juxtaposed with caricature to create an edgy effect. Similarly\, she utilizes humor to connect with darker themes. Stanley’s involvement in the Women’s Artist movement inspired paintings relating to gender issues and sexual politics in the art world. She developed an alter ego who frequently appears in her paintings as an “Archetypal Artist”. Most recently\, her work reflects research she conducted during her travels in Europe\, where she led and organized the “Art Lover’s Tours” for 14 years. Her work has been exhibited widely throughout California\, such as the Marin Museum of Contemporary Art; Richmond Art Center; and California College of Arts\, among others. Stanley currently lives and works in Emeryville\, California.\n\n  \nWilliam T. Wiley (b. 1937\, Bedford\, Indiana\, d. 2021\, Kentfield\, California) was a multidisciplinary artist and educator known for his experimental approach and open personality. He was a key contributor to the Funk movement\, and his interest in Americana led to his work being coined “Dude Ranch Dada.” While he initially focused on sculptures and assemblages\, he is best known for dense landscapes and interior scenes overlaid with humorous text. Wiley exhibited widely throughout his career and his work can be found in the collections of the Museum of Modern Art\, New York; San Francisco Museum of Modern Art\, California; and the Art Institute of Chicago\, Illinois\, among others. \n 
URL:https://artinamericaguide.com/event/going-our-way/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20231103T180000
DTEND;TZID=America/New_York:20231222T180000
DTSTAMP:20260614T100903
CREATED:20231027T173258Z
LAST-MODIFIED:20231115T225016Z
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SUMMARY:Peter Saul\, ‘Selected Works on Paper from the 1960s’
DESCRIPTION: The George Adams Gallery is pleased to present selected works on paper by Peter Saul from the 1960s along with the public debut of the short film Pictures of Peter Saul. The film\, shot in Mill Valley\, California in 1969 by Kai Mel de Fontenay\, offers a unique perspective into the artist’s outlook on the world\, his artistic process\, and his personal history during a transitional period in his career following his return to the United States after spending nearly a decade living in Europe.  \nIn 1957\, after graduating from Washington University in St. Louis\, Saul lived in the Netherlands\, France\, and Italy\, during which time he drew inspiration from American magazines and comics. After his first exhibition with the Allan Frumkin Gallery in 1961\, Saul was quickly identified as part of the emerging Pop Art movement with work featuring images inspired by American publications such as Time and MAD Magazine. Works on view Superman and Untitled (Mad)\, both completed in 1962\, combine these cartoonistic forms drawn from pop culture with an all-over composition reminiscent of abstract expressionism. \nSaul returned to the United States in 1964 and settled in Mill Valley\, California\, where the major political events of the era – the Vietnam War and Civil Rights protests – soon transformed his work. In the short film Pictures of Peter Saul\, the artist elaborates on his recent paintings from the period\, notably Typical Saigon\, Untitled ($62\,000)\, Come and Get Me\, as well as other seminal works completed in 1968\, with unflinching bluntness. These paintings\, rendered in DayGlo colors featuring over-sexed G.I.s\, caricatures of Asian individuals as stark symbols of wartime atrocities\, were widely regarded as obscene. \nPeter Saul was born in San Francisco\, California in 1934. He attended the California School of Fine Arts in San Francisco and Washington University School of Fine Arts in St. Louis. Saul’s work has been the subject of numerous museum retrospectives\, most recently organized by The New Museum of Contemporary Art\, New York in 2020; His work has also been featured in major group exhibitions domestically and internationally\, including at the Centre Pompidou\, Paris; the Pennsylvania Academy of Fine Arts\, Philadelphia; Crystal Bridges Museum of American Art\, Bentonville; the Metropolitan Museum of Art\, New York; the Whitney Museum of American Art\, New York; MoMA PS1\, Long Island City; and the Wexner Center for the Arts\, Columbus. He has been the recipient of numerous grants and awards\, including multiple National Endowment for the Arts grants\, the John Simon Guggenheim Memorial Foundation Fellowship in 1993\, the American Academy of Arts and Letters Award in 2002\, the Artist’s Foundation Legacy Award in 2008\, election to the American Academy of Arts and Letters in 2010\, and an honorary doctorate from the New York Academy of Art in 2021. \nSaul’s work is included in major international public collections including the Metropolitan Museum of Art\, New York; the Museum of Modern Art\, New York; The Whitney Museum of American Art\, New York; the Art Institute of Chicago; the Smithsonian American Art Museum\, Washington DC; the Los Angeles County Museum of Art; the San Francisco Museum of Modern Art; Centre Georges Pompidou\, Paris\, France and the Stedelijk Museum\, Amsterdam\, the Netherlands\, among many others. Peter Saul currently lives and works in New York City and upstate New York.
URL:https://artinamericaguide.com/event/peter-saul-selected-works-on-paper-from-the-1960s/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231103T180000
DTEND;TZID=America/New_York:20231222T170000
DTSTAMP:20260614T100903
CREATED:20231027T173258Z
LAST-MODIFIED:20231027T173258Z
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SUMMARY:Ambrosia Salad\, Bad Panacea and Other Works
DESCRIPTION:The George Adams Gallery is pleased to announce our first solo exhibition of recent work by Craig Calderwood: Ambrosia Salad\, Bad Panacea and Other Works. The exhibition includes a series of intricate tapestry paintings and drawings that explore themes of queer identity and life. These works bring together elements drawn from fantasy\, video games\, and Calderwood’s own personal history\, providing a reflection on their experience of processing grief over the past several years. \nA predominantly self-taught artist\, Calderwood’s work is heavily autobiographical\, referencing their childhood and identity as a queer and trans individual. Their use of materials\, specifically textiles\, is essential to Calderwood’s practice and evokes memories of their father\, a skilled upholsterer and craftsman. By fusing aspects from their personal life with fantastical imagery\, Calderwood creates enigmatic visual tales enriched by intricate patterning and symbolism. These form a coded communication deeply rooted in the historical lineage of language utilized by queer and trans communities. This unique approach is meticulously honed through historical research\, personal anecdotes\, and moments drawn from popular culture. \nAmong the works included in the exhibition is The Light Bulb Sound (2022) a large-scale tapestry painting that depicts an attempt to light two electric candelabras. The figure’s facial features are deliberately obscured by a dense floral pattern animated with googly-eyes and a mocking smile as if to acknowledge the absurdity of the situation. The work is framed by an intricate border that contains coded queer references as well as images of plants and insects in cycles of decomposition that introduce the theme of mortality. \nThe drawings included in the exhibition\, all pen and ink\, portray in high detail personal stories and specific instances from childhood. For example\, Christina’s Revelations (2021) explores Calderwood’s experience living with their father and the profound impact of his recent passing.  The composition delves into various aspects of their father’s personality\, notably his physical intelligence and creativity as a skilled lamp maker. In this drawing and other works on view\, Calderwood meditates on their own upbringing and contemplates the intricate ways in which people negotiate their lives\, especially when confronted with personal fears and uncertainties about the world. \nCalderwood’s work made its debut at the gallery in Shapeshifters\, an exhibition of four artists from the Bay Area in 2021. In 2022\, they were honored with a Eureka Fellowship\, and served as the Art+Process+Ideas (API) artist in residence at Mills College\, Oakland\, where their work was exhibited at the Mills College Art Museum. In the past year\, Calderwood was featured in Figure Telling at the di Rosa Center for Contemporary Art in Napa and Fight and Flight at the Museum of Craft and Design\, San Francisco. Their work is currently on view in Bay Area Now 9 at the Yerba Buena Center for the Arts. Calderwood was selected by the San Francisco Arts Commission to create artwork for the three-story atrium of the Harvey Milk Terminal at the San Francisco International Airport\, and their mural is set to be unveiled in 2024. Currently\, Calderwood is an artist in residence at Recology\, San Francisco. \nCraig Calderwood was born in 1987 in Bakersville\, CA\, and raised in California’s Central Valley. Calderwood relocated to San Francisco\, CA in 2011\, where they currently live and work. \nAmbrosia Salad\, Bad Panacea and Other Works will be on view from November 3 through December 22\, 2023. A reception for the artist will be held on Friday\, November 3 from 6 to 8 pm. \nFor inquiries regarding Craig Calderwood\, please contact Charlotte Kahn at ck@georgeadamsgallery.com. \nFor press inquiries\, please contact Abby Margulies at abbymargulies@gmail.com.
URL:https://artinamericaguide.com/event/ambrosia-salad-bad-panacea-and-other-works/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230831T100000
DTEND;TZID=America/New_York:20230926T180000
DTSTAMP:20260614T100903
CREATED:20230906T132825Z
LAST-MODIFIED:20230906T132825Z
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SUMMARY:Elmer Bischoff\, 'Figurative Paintings and Drawings'
DESCRIPTION:The George Adams Gallery will present a series of exhibitions at San Francisco’s Minnesota Street Project this fall. The New York-based gallery has a longstanding emphasis on Bay Area artists\, having represented Robert Arneson\, Joan Brown\, Elmer Bischoff\, Enrique Chagoya\, Roy DeForest\, Tony May\, and Katherine Sherwood\, among other Northern California artists for several decades. The fall series of exhibitions will take place in Room 107\, the downstairs gallery of Anglim/Trimble. The gallery will be open Thursday through Saturday\, 11am-5pm\, and by appointment Tuesdays and Wednesdays. \nDuring the month of September\, the George Adams Gallery will present an exhibition of figurative paintings and drawings by Elmer Bischoff at Minnesota Street Project\, featuring four paintings and approximately fifteen drawings spanning the 1950s into the 1970s. \nThe exhibition brings together Bischoff’s paintings and drawings from the 1950s-70s\, highlighting his two-decade exploration of figuration. Among the notable works on view are two early figurative paintings Cortez Square and On the Grass from 1953 and 1954 respectively\, as well as two large-scale figurative canvases\, Figure\, Boat\, Clouds and Bay from 1972 his final year working figuratively before returning to abstraction. Among the works on paper are studies for “On the Grass” and other paintings from the 1950s and 1960s\, as well as a series of drawings from the early 1970s when he was part of a group of artists including Joan Brown\, Gordon Cook\, and Manuel Neri\, who met regularly in Berkeley to work together from a live model. This series of drawings all feature the seminal group of artists who met each week. \nElmer Bischoff was born in Berkeley in 1916. He taught at the California School of Fine Arts (later SFAI) and UC Berkeley until shortly before his death. He is perhaps best known as a founder\, along with Richard Diebenkorn and David Park\, of Bay Area Figuration\, the painting style that emerged in San Francisco in the early 1950s. He has been the subject of multiple retrospective exhibitions\, two organized by the Oakland Museum\, California in 1975 and 2001\, and one organized by the San Francisco Museum of Modern Art in 1985. Bischoff’s work is included in the collections of the SFMOMA and DeYoung in San Francisco; the Whitney\, MoMA\, and the Metropolitan Museum of Art in New York; the Hirshhorn Museum in Washington\, DC; and the MFA\, Houston\, among others. The George Adams Gallery has represented the artist’s Estate since 2008. \n“Elmer Bischoff: Figurative Paintings and Drawings” will be on view in room 107 at MSP from August 31 through September 26.
URL:https://artinamericaguide.com/event/elmer-bischoff-figurative-paintings-and-drawings/
LOCATION:Minnesota Street Project\, 1275 Minnesota Street\, San Francisco\, CA\, 94107\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230519T100000
DTEND;TZID=America/Halifax:20230811T180000
DTSTAMP:20260614T100903
CREATED:20230505T183632Z
LAST-MODIFIED:20230719T152402Z
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SUMMARY:Robert Arneson\, ‘Astonishing Possibilities for Self-Expression’
DESCRIPTION:The George Adams Gallery is pleased to present Robert Arneson: Astonishing Possibilities for Self-Expression\, the most comprehensive survey of the late artist’s use of the self as subject matter in over twenty-five years. Encompassing works on paper and sculptures in both ceramic and bronze\, the exhibition includes work dating from the mid-1960s through his death in 1992. For an artist who is perhaps best known for his self-portraits\, the exhibition shows how Arneson’s approach evolved through the decades and the range of expressive potential he found within his self. \n  \nThe most substantial and varied portion of Robert Arneson’s prodigious output are those works in which he made use of himself as the subject. While Arneson’s self-portraits are of outsized significance when considering his oeuvre as a whole\, it is insufficient to say that the self-portrait was Arneson’s primary concern as an artist\, or even that he saw himself as the most important of his many and varied subjects. In fact\, it wasn’t until the mid ‘60s\, already established in his career\, that he even attempted a subject as “serious” as himself – and then not until the early ‘70s that self-portraits became a recognizable aspect of his art making. These portraits were a natural extension of his ongoing exploration of ceramic forms that he defined as the kind of ubiquitous\, quotidian objects that surround us. What more ubiquitous\, for an artist in the studio\, than oneself? As he pointed out to an interviewer in 1974\, “the person you know best\, [is] the person you’ve been dealing with all your life.” Looking at images of Arneson in the studio around this time\, you see him working on these busts while surrounded by a set of mirrors that allowed him to study a gesture or expression from multiple angles. That his subject was so often his self was almost beside the point – just as clay was his preferred medium\, so was the expressive potential of the body and face. \n  \nArneson’s first self-portrait is broadly recognized to be Portrait of an Artist Losing His Marbles from 1965 (currently on view at the Museum of Arts and Design\, New York). The sculpture was an attempt to make a “serious work of art in clay\,” however repeated firings eventually caused it to crack; to salvage the piece\, he epoxied marbles into the crack\, resulting in a tongue-in-cheek visual pun in line with the pop-funk objects he was making at the time. He was evidently thinking about self-portraits before ’65 though\, a number of drawings from the mid-60s either obliquely include his own image or are direct studies of himself\, as are the pair from 1964 on view in this exhibition. It would not be until 1971 that Arneson returned to the kind of life-sized portrait bust that he struggled with in Portrait of an Artist – yet the subject remained on his mind. The quasi-conceptual (and often experimental) sculptures\, paintings and drawings he made between ’65-’71 often allude to the self\, or the artist and his process. Body parts such as fingers\, feet\, noses and so forth\, show up disembodied or as vestiges\, in marks like foot- or finger-prints. By the time he embarked on his next self-portrait bust (Smorgi Bob\, the Cook in 1971 – now in the collection of SFMoMA)\, he was prepared to tackle the complexity and range the subject could afford him. \n  \nThe first of the new busts were sophisticated in their technique and irreverent in their content\, featuring the artist in turn sticking out his tongue\, being brutally murdered\, screaming\, or picking his nose. Delta Bob (1972)\, done in milky white porcelain\, is supremely cool with his dark glasses and disembodied hand casually holding a cigar. Arneson had been gaining national attention since the early ‘60s and was already recognized as a major figure in American ceramics – he would have his first museum retrospective in 1974. In self-portraits he found a mode through which he could distill the humor\, technical prowess\, artistic know-how and ne’er-do-well attitude he had cultivated into one\, singular expression. He later suggested that he was “attempting to get beyond likeness to a state of psychological presence in these portrait busts.” Certainly\, despite the realism they express\, Arneson’s portraits\, particularly of himself\, do not attempt to provide a likeness so much as capture a psychological state of being\, an approach which certainly was impacted by his participation in the 1969 Whitney exhibition\, Human Concern / Personal Torment. As Arneson’s busts grew in size and ambition through the 1970s\, we see his head crushed\, masked\, split\, distorted and multiplied\, each physical transformation illustrating an equivalent mental state. The portraits are unusually active\, with Arneson’s preferred mode of representation showing him as licking\, poking\, biting\, smoking\, kissing\, grinning or otherwise caught mid-action. Clay\, in this case\, was a fitting material for Arneson to work in as it lent itself well to the kinds of manipulations he subjected his image to\, going so far as grotesquely stretching his face like a hunting trophy\, as in Head Skinned and Bleached (1986). Though it was the “psychological presence” of the self that Arneson sought to explore\, the means through which he did so went beyond the physical limitations of the body to an almost grammatical understanding of the self. \n  \nThis preoccupation carries over into other media as well\, in particular works on paper where Arneson seemed most comfortable in addressing his audience. While drawing was a continual (and vital) part of his practice\, it wasn’t until around 1980 that he began to make large\, complex works on paper that stood distinct from his sculptures. In the case of the self-portrait drawings\, Arneson confronts the viewer with the same intensity and directness one can imagine he gave to his own reflection\, the audience becoming an interloper within this private moment. Yet in these drawings he moves beyond the observed into hyperbole\, skillfully imagining his own head as mutable as its sculptural doppelgangers. This suggests a synergy between the two mediums; Arneson frequently made sketches and studies for his three-dimensional works before\, during and after their completion. Often featuring notes and collaged elements\, these studies demonstrate the conceptual underpinnings of their sculptural counterparts. The multiplication that results increasingly became a tool Arneson employed directly in the work\, where not only could he engage with himself in the making of the work but also explore in three dimensions what would otherwise be an internal dialogue. That dialogue is most visible in the sculptural work done in the last two years of his life\, many of which were done in bronze. The inherent multiplicity of the casting process only amplifies the reflexive and introspective nature of Arneson’s portraits and he exploited this quality in pieces like Poised to Infinity (1991)\, where shrinking copies of his own head are stacked in a precarious tower. Similarly\, his series of double portraits\, in their quietly humorous pairings of aggressor-victim\, embody the full range of human emotion.
URL:https://artinamericaguide.com/event/robert-arneson-astonishing-possibilities-for-self-expression/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230407T160000
DTEND;TZID=America/Halifax:20230407T190000
DTSTAMP:20260614T100903
CREATED:20230323T210819Z
LAST-MODIFIED:20230325T214216Z
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SUMMARY:Enrique Chagoya\, ‘Borderless’
DESCRIPTION:The George Adams Gallery is pleased to present Borderless\, a presentation of new work by Enrique Chagoya across various mediums. The exhibition will feature three new large paintings and a new codex\, all on Amate paper\, as well as a survey of his use of that format over the past 20 years. This will be Chagoya’s ninth solo exhibition with the gallery since 2000. \nAs with much of his recent work\, Chagoya continues to explore the colonial construct of “boundaries” – those that are created artificially through racial\, social\, economic and territorial divides. By conflating the ancient and the modern\, the social and the political\, the serious and the humorous\, Chagoya pokes holes in the assumption of boundaries as being a necessary aspect of modern civilization. Himself a Mexican immigrant to the United States\, his identity as an “alien” has long informed his work\, allowing him to approach his subjects as an insider and outsider simultaneously. Pulling from a wide\, cross-cultural vocabulary\, Chagoya brings together such disparate visual idioms as comic book heroes\, religious iconography\, traditional Mayan figures and ethnographic illustrations\, juxtaposing these disparate elements to create a wholly new visual language. By addressing such constructs as the “Enlightened Savage\,” “Illegal Alien” or “Romantic Cannibal\,” many of his works purport to be “Guides” to the so-called Western World. However\, instead of clarifying the inner workings of\, for instance\, the economy to a supposed outsider\, Chagoya instead highlights the absurdity of the systems that control our lives. \nIn Chagoya’s most recent paintings\, his attention is focused on the complexities of immigration\, specifically in the United States. The four canvases completed this year each touch on contentious aspects of the country’s immigration policy through the lens of the nation’s history. In Detention at the Border of Language\, he envisions a “trans-continental Border Patrol” as “a reminder that all nations in the Americas were created by undocumented immigrants from Europe.” Similarly\, Everyone is an Alien reminds us that identities are fluid and in societies like the United States\, xenophobia amounts to hypocrisy. A more sobering statement of the very real impact of immigration policy is his new multi-panel codex painting\, Wild Spirits that Shine Obstinately Beyond Walls. With a graphic representation of the southern border wall running across it\, Chagoya adds expressive portraits of so-called “Dreamers” in red-white-blue paint\, smiling in defiance of the barriers – both physical and social – they are forced to overcome. Issues of assimilation and polarization also come into play in his other codex painting\, The New Codex Ytrebil\, which takes the form of small books made by Indigenous peoples of Central America in the 16th-century. While these books were used in the instruction of the catechism\, Chagoya’s secular version taps into the hysteria of modern day concerns such as “ycarcomed”(democracy)\, “dadlaugi” (igualdad) and “egnahc” (change). \nAt the core of Chagoya’s work is the violent history of Central America\, in which the ancient Indigenous cultures were decimated by the Spanish conquest. Chagoya began creating his own versions of Mesoamerican books in the early 1990s\, in part as an engagement with his personal heritage but also as a tool for critique. As few original Mayan codices survive – most were destroyed by conquistadores – and of those\, none pre-date the conquests\, Chagoya uses this dearth of information to bring a revisionist approach to history. While on the one hand his codices follow the traditional format of right-to-left reading\, eschew written text in favor of images and are done on handmade Amate paper\, the appearance of modern day symbols such as jet planes or Spider Man\, bring them into the present. Colonizing actions\, from military invasions to artistic appropriations\, are upended in the Chagoya canon\, as he imagines an alternative past where the roles have been reversed. Over the course of the past twenty years he has produced many codices\, both printed and drawn\, eight of which are on view here. Collectively they highlight the evolution of Chagoya’s practice and the range of subjects he brings to bear in his work – in the codex format and beyond.
URL:https://artinamericaguide.com/event/enrique-chagoya-borderless/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230223T180000
DTEND;TZID=America/Halifax:20230401T180000
DTSTAMP:20260614T100903
CREATED:20230209T215239Z
LAST-MODIFIED:20230209T215239Z
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SUMMARY:Maya Brodsky: 'Moments of Being'
DESCRIPTION:The George Adams Gallery is pleased to announce our first solo exhibition of paintings by Maya Brodsky\, her first in ten years. Intimate in both their scale and subject\, Brodsky draws on her lived experience to create paintings that are deeply personal yet universal in their concerns. The exhibition\, Moments of Being\, includes work from the past five years\, a period that encompasses the birth of her second daughter\, Eda.
URL:https://artinamericaguide.com/event/maya-brodsky-moments-of-being/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20221103
DTEND;VALUE=DATE:20221218
DTSTAMP:20260614T100903
CREATED:20221021T191027Z
LAST-MODIFIED:20221021T191027Z
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SUMMARY:Sue Coe\, 'Political Television'
DESCRIPTION:The George Adams Gallery is pleased to present Political Television\, an exhibition of drawings and prints by Sue Coe spanning her career from the early 1980s to the present. The exhibition will feature several monumentally scaled drawings\, touching on themes such as police brutality and the capitalism inherent in our political system. Alongside these will be shown an ongoing series of linocuts that exhaustively chronicles the Trump presidency and its aftermath\, a period Coe refers to as “The Age of Authoritarianism.” The most recent print in the series\, Forced Birth\, has been made especially for the exhibition as a benefit print with the proceeds going to support Planned Parenthood. This exhibition has been organized with the cooperation of Galerie St. Etienne. \n  \nSince Coe moved to New York from London in the early ‘70s\, her work – both commercial and otherwise – has been vehemently political\, tying together what she understands to be the fundamental crimes of our modern society: cruelty\, fascism and greed. Deriving from her training as an illustrator\, Coe’s graphic and emotive style lends itself to a deeply expressive body of work\, encompassing a number of serial projects and stand-alone pieces. Many of these projects have culminated in books or pamphlets\, her drawings adding urgency to the issues at hand. Regardless of her medium however\, Coe is brutally honest\, her aim: to provide an unflinching picture of instances of the disregard for life. While her early drawings are direct in that they are commenting on recent events\, they are also timeless in their reminder of how easily society can infringe on basic rights under the guise of justice and order. More recently\, Coe’s “Age of Authoritarianism” prints marry the traditions of political art and cartoon\, her graphic renderings of current\, hot button issues\, serve as both a chronicle of the recent past and a commentary on the potential consequences of world events. They have been a regular feature of The Nation’s Opp-Art column since 2019 and most recently\, serve as the basis for a pair of pamphlets\, American Fascism Now (2020) and American Fascism Still (2022). While the series was instigated by the candidacy of Donald Trump in 2016\, his election and the controversies that ensued galvanized Coe’s response. Now numbering over seventy images\, the series addresses the range of issues that have continued to shape the political discourse. From women’s rights to governmental oversight\, dis-information to climate change\, immigration\, the Supreme Court\, the pandemic\, voting rights\, the economy\, war\, and above all\, Trump himself\, Coe brings these issues together\, creating a terrifying picture of the world we live in. \n  \nActivism has always been the driving force behind Coe’s work. In the early ‘80s\, she embarked on a number of large-scale drawings\, directly illustrating scenes of violence and avarice she directly observed or heard of\, in a stark palette of blacks and reds. While Coe was actively doing commercial work for major publications such as Rolling Stone and the New York Times\, she also became involved in the underground comic scene\, contributing pieces for politically-minded magazines such as Raw and later World War 3. Her relationship with Raw led her to collaborate with the publishers Françoise Mouly and Art Spiegelman on two projects: How to Commit Suicide in South Africa (1983) and X (1986). Both books combined Coe’s artworks with writing on incendiary subjects: apartheid and violence in South Africa and the life of Malcolm X\, respectively. Though the drawings Coe made for each were intended for print\, she approached the subjects at scale – many are over five feet in size. These monumental works reflect Coe’s perception of the subjects and her sense of their importance at the time\, a call for action against those who have wronged others. In 1986\, drawings from both series as well as others were exhibited in a major traveling exhibition\, Police State\, that originated at the Virginia Commonwealth University. Works from that exhibition are also on view here\, reinforcing the broader themes of violence\, oppression and injustice that have remained the focus of Coe’s work for the past forty years. \n  \nLike all good activist artists\, Coe manages to elicit both sympathy and repulsion from her audience while also forcing us to consider how complicit we are ourselves. While many of Coe’s prints\, for instance\, are granularly topical (see: They Were Just Following Orders and Inciter in Chief)\, she has focused more on systemic concerns\, such as the inefficiencies in our political system\, inhumane practices in the food industry and the dire threat caused by global warming. Politics in particular have become an increasingly urgent subject since 2016\, not in small part due to the partisanship that has divided the country. Yet Coe looks at these divisions as less a product of political ideologies than as a symptom of the constructs that continue to exercise power on the democratic system. While it can be dangerously simple to dismiss her message as naïve\, Coe suggests that with compassion to all living things\, we can begin to heal.
URL:https://artinamericaguide.com/event/sue-coe-political-television/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20201008
DTEND;VALUE=DATE:20201220
DTSTAMP:20260614T100903
CREATED:20201022T182504Z
LAST-MODIFIED:20201022T182504Z
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SUMMARY:Joan Brown\, Drawn from Life: Works on Paper\, 1970-1976
DESCRIPTION:The George Adams Gallery is pleased to present Joan Brown: Drawn From Life\, an exhibition of works on paper spanning the years 1970 to 1976. Coinciding with the 30th anniversary of Brown’s death\, on October 26th\, 1990\, this exhibition looks back to one of the most fruitful periods of Brown’s career from the perspective of her drawings from the model. Highly experimental\, unstudied and boldly rendered\, they reveal that drawing was a mode Brown used as a form of practice\, to allow herself to come to the canvas instinctually and without preparation. The exhibition will include over a dozen works ranging from simple line drawings to more fully rendered paintings on paper – several of which Joan had set aside for her personal collection and never before exhibited. A new publication\, fully illustrated\, focusing on Brown’s drawings – the first – will accompany the exhibition with contributions by Jenelle Porter\, Eva Rivlin and Tamsin Smith and an introduction by George Adams. \n  \nJoan Brown came to prominence around 1960\, while in her early twenties and in graduate school\, as part of the second generation of Bay Area Figurative painters. However\, by 1969 she had transformed herself into a radically different artist\, one who would come to be defined by her individualism. In the several years following\, Brown devoted much of her time to drawing – predominantly from a model in the studio. This was a communal activity – working alongside friends and contemporaries such as Manuel Neri\, Elmer Bischoff\, Gordon Cook or Robert Arneson\, she took these sessions as a way to “get into\, or feel\, or get mesmerized by\, or investigate an image that I wanted to paint. I would do many drawings until I got familiar with the image… it’s the same with getting to know the figure.” \n  \nThe progression of her drawings from 1970 onwards suggests this process of familiarization. Though the earliest are rendered in the briefest strokes of graphite or ink\, by 1972 a limited palette of red\, black and white acrylic is introduced – the shorthand Brown needed to differentiate flesh from furniture and to block out graphic patterns and outlines. In drawings such as Model + Mirror in Studio\, 1972\, the composition takes primacy with all but the key elements painted over in glossy black ink. The model is almost incidental\, balanced against the heavy stripes of the blanket she lies on and the tipped-up perspective of the table in the foreground. Her reflection in the mirror is pale\, though details of the studio are sketched in around her. Reflections crop up in other drawings as well\, including Joan herself in quick self-portraits as for Model with Reflection in Window from the same year. \n  \nThough her drawings grew in size and ambition over time\, a consistent factor was the speed at which Brown worked. Colors are mixed partly on the page and segments of paper pasted in: collage as a method of erasure. In one of the largest drawings from this group\, Model in Studio\, 1973\, two full sheets of paper form a seam across the middle to accommodate the figure\, shown in a classical pose\, accessorized by a chic black tulle veil with a single high-heeled sandal on the floor in front of her. A quick pencil sketch in the background shows Bischoff seated\, sketching from across the room. After 1974 Brown began to use more color\, though her convention of the pink figure continued. These later drawings are more fully realized\, with defined settings or conversely\, minimal\, silhouetted compositions akin to those in her paintings from around this time. The culmination of these studio drawings is the Mary Julia series Brown completed over the course of 1976\, based on the model Mary Julia\, a long-time collaborator of Neri’s. All show Mary Julia variously costumed in the outfits she would bring to their sessions\, giving a playful\, narrative quality to the series with her filling the role of the every-woman: vulnerable\, confident and beguiling.
URL:https://artinamericaguide.com/event/joan-brown-drawn-from-life-works-on-paper-1970-1976/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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GEO:40.7503804;-74.003922
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200716
DTEND;VALUE=DATE:20200927
DTSTAMP:20260614T100903
CREATED:20200709T193910Z
LAST-MODIFIED:20200709T205217Z
UID:69792-1594857600-1601164799@artinamericaguide.com
SUMMARY:Documents
DESCRIPTION:This summer\, the George Adams Gallery will present a cross-generational group exhibition featuring paintings\, photographs and woodcuts by Jack Beal\, Manny Farber\, Kevin Frances\, Kija Lucas and Tony May. For each of these artists\, documentation is a key element in how they conceive their work and the result\, regardless of the media\, retains a narrative quality from that process. The exhibition will be available both online\, in a digital format and installed at the gallery for viewings by appointment. \n  \nThe act of documentation in this instance is an intentional one and follows from a prior action: assembling\, collecting\, designing\, building. While the works in the exhibition exist on their own\, the context of those respective processes remains visible\, whether that be through vestiges of marks\, as in Manny Farber’s paintings\, or the text appearing in work by Tony May or Kija Lucas. In some cases\, such as with Kevin Frances’s models\, there is a direct dialog between the two. Frances produces detailed\, to-scale dioramas\, for the purpose of documenting them\, first through photography and then with intricate woodcuts. His props are carefully crafted and lit to imbue a sense of drama\, but his thoughtful staging gives enough subtext to understand the underlying narrative. On view will be a selection of pieces – models\, photographs and prints – from his most recent series\, “Superposition.” Frances’s unseen\, imaginary protagonists are a husband and wife\, a sculptor and writer\, whose practices overlap in the small duplex they live in. Through the sparsely furnished interiors\, we see the delineations – and lack thereof – between their personal and professional lives. \n  \nConsidering the domestic from another perspective\, Tony May has long used his paintings as a record-keeping of his various home repairs\, projects and mundanities. Starting with a series of “Home Improvement” paintings in the 1980s\, he has continued to document the many\, often ingenious\, small alterations he has made to his home over the decades. The paintings are roughly square\, generally uniform in scale and format and include a hand-lettered\, white-text-on-black-ground caption to describe the image. They tend to be direct and illustrative\, however the subtlety and witticism often present in the physical alterations May depicts can translate as visual puns. Coupled with the bland tone of his captions\, the paintings serve the double function of literally documenting\, while gently satirizing the banality of his subjects. \n  \nLanguage also plays an important role in Kija Lucas’s series of photographs “Collections from Sundown\,” a selection of which are included in the exhibition. Rather than the artist’s words\, these are notes written by her grandmother\, who suffers from Alzheimer’s. Each photograph is a collection of objects or writings – spanning a single day or several years – showing how her perception of reality has been impacted. Lucas describes sundowning as “increased confusion\, collecting and packing of belongings\, and often preparing for a perceived trip.” The series\, in effect\, is both a document of the disease itself and the very human toll it takes\, both on the afflicted and their family. Each image is presented formally\, arrayed on a black ground and at close to 1:1 scale – as a placeholder for the objects themselves and a reminder of the fugitive nature of memory. \n  \nSimilar formal considerations are taken by Manny Farber in his particular methodology of composing paintings by laying objects directly on the canvas and outlining them before building up the image. The peculiar perspective this achieves\, and the literal-mindedness of the technique\, exposes how\, as Kenneth Baker noted in 1993\, “Farber intuited that honesty had become a condition of painting’s credible reconnection with our increasingly provisional sense of the real.” There is no happenstance to these paintings however\, Farber was meticulous in his choices and the seemingly arbitrary collections of books\, flowers\, tools and other ephemera can be read as a kind of metaphorical\, autobiographical shorthand. \n  \nIn contrast\, for Jack Beal\, the still-lives he composed\, particularly in the early 1960s\, are the epitome of formalism. Though pre-dating his hard-edged paintings\, which are reductive  nearly to the point of abstraction\, they show the preoccupation Beal had with the technical trapping of composition. Form for Beal\, was a passion – so much so that he wrote a treatise outlining the particular qualities that color\, texture and line could contribute to the overall sensation of a finished work. The zealousness of this approach is apparent in his paintings\, where objects are selected and combined not for their intrinsic value but the physical qualities they can contribute. Such considerations\, though\, are not far from the deliberate nature of May’s and Frances’s fabrications\, nor Lucas’s and Farber’s acquisitiveness and it is the very physical underpinnings of each artist’s process which unites them.
URL:https://artinamericaguide.com/event/documents/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com
GEO:40.7503804;-74.003922
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200317
DTEND;VALUE=DATE:20200901
DTSTAMP:20260614T100903
CREATED:20200701T162243Z
LAST-MODIFIED:20200701T163630Z
UID:69405-1584403200-1598918399@artinamericaguide.com
SUMMARY:Art from Afar
DESCRIPTION:‘Art from Afar’ is a living archive\, updated regularly\, of the online content produced while the gallery was temporarily closed due to the COVID-19 pandemic. As the gallery reopens\, we will continue to update this page through the rest of the summer with news and stories about our artists and our current and upcoming exhibitions. Please visit our website to view the original content\, at the link below. \nhttps://www.georgeadamsgallery.com/exhibitions/art-from-afar
URL:https://artinamericaguide.com/event/art-from-afar/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
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ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com
GEO:40.7503804;-74.003922
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=George Adams Gallery 38 Walker Street New York NY 10013 United States;X-APPLE-RADIUS=500;X-TITLE=38 Walker Street:geo:-74.003922,40.7503804
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200317
DTEND;VALUE=DATE:20200701
DTSTAMP:20260614T100903
CREATED:20200605T203352Z
LAST-MODIFIED:20200605T204445Z
UID:68479-1584403200-1593561599@artinamericaguide.com
SUMMARY:Viewing Room | Art from Afar
DESCRIPTION:George Adams Gallery is pleased to present our first online viewing room\, as part of the ADAA Member Viewing Rooms in collaboration with Artlogic. In a special installation of our backroom\, we are sharing a cross-section of the gallery’s program\, with its focus on representational\, narrative art. Since the 1950s\, the gallery has championed artists outside the mainstream\, particularly those from the San Francisco Bay Area and Latin America\, as well as under recognized artists who continue to challenge us through their work. \nVisit the online viewing room to see paintings\, drawings and prints by Robert Arneson\, Luis Cruz Azaceta\, Chris Ballantyne\, Elmer Bischoff\, Joan Brown\, Enrique Chagoya\, Gregory Gillespie\, Red Grooms\, Amer Kobaslija\, Andrew Lenaghan\, Tony May\, David Park\, Peter Saul\, Katherine Sherwood and H.C. Westermann. \n\nImage:\nH. C. Westermann\n(1922-1981)\nHuman Cannonball\, 1971\nsigned\, dated\, lower right\nInk and watercolor on paper\n13 3/4 x 16 1/2 inches
URL:https://artinamericaguide.com/event/viewing-room-art-from-afar/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/06/adaa-h.-c.-westermann-human-cannonball-1971.jpg
ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200305
DTEND;VALUE=DATE:20200531
DTSTAMP:20260614T100903
CREATED:20200309T183151Z
LAST-MODIFIED:20200630T211155Z
UID:66233-1583366400-1590883199@artinamericaguide.com
SUMMARY:Luis Cruz Azaceta\, Personal Velocity: 40 Years of Painting
DESCRIPTION:An exhibition of paintings and drawings by Luis Cruz Azaceta from two distinct periods\, the late 1970s and 2019\, highlighting their esthetic and thematic similarities despite the intervening years.
URL:https://artinamericaguide.com/event/luis-cruz-azaceta-personal-velocity-40-years-of-painting/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com
GEO:40.7503804;-74.003922
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=George Adams Gallery 38 Walker Street New York NY 10013 United States;X-APPLE-RADIUS=500;X-TITLE=38 Walker Street:geo:-74.003922,40.7503804
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200116
DTEND;VALUE=DATE:20200301
DTSTAMP:20260614T100903
CREATED:20200118T013942Z
LAST-MODIFIED:20200118T013942Z
UID:63737-1579132800-1583020799@artinamericaguide.com
SUMMARY:Andrew Lenaghan\, “Places Have Their Moments”
DESCRIPTION:New paintings and sketchbook selections
URL:https://artinamericaguide.com/event/andrew-lenaghan-places-have-their-moments/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/01/AnLp682.jpg
ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com
GEO:40.7503804;-74.003922
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=George Adams Gallery 38 Walker Street New York NY 10013 United States;X-APPLE-RADIUS=500;X-TITLE=38 Walker Street:geo:-74.003922,40.7503804
END:VEVENT
END:VCALENDAR