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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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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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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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DTSTART;VALUE=DATE:20221103
DTEND;VALUE=DATE:20221218
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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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DTEND;VALUE=DATE:20201220
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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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DTEND;VALUE=DATE:20200927
DTSTAMP:20260614T054007
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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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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200317
DTEND;VALUE=DATE:20200901
DTSTAMP:20260614T054007
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/07/Gallery-exterior-square-scaled.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
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200317
DTEND;VALUE=DATE:20200701
DTSTAMP:20260614T054007
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:20260614T054007
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/03/LCAp155-scaled.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
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200116
DTEND;VALUE=DATE:20200301
DTSTAMP:20260614T054007
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