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DTSTAMP:20260503T161836
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SUMMARY:Luis Cruz Azaceta: Loose Screws 1974-1989
DESCRIPTION:George Adams Gallery is pleased to present Loose Screws: 1974-1989 a survey of works on paper and \npaintings by Luis Cruz Azaceta\, on view from June 6 through August 9\, 2024. This is Azaceta’s \nseventeenth exhibition with the gallery. George Adams will host an opening reception for the artist on \nThursday\, June 6\, from 6 to 8 PM. \n  \nLuis Cruz Azaceta (b. 1942) was born in Havana\, Cuba\, and experienced the violence of the Cuban \nrevolution before emigrating to New York at 18 in 1959. He worked odd jobs and studied\, earning a BFA \nfrom the School of Visual Arts in 1969. Azaceta’s early work\, characterized by cartoon-like caricatures\, \naddressed the moral and ethical issues of the time\, focusing on urban violence with the intention of \ninspiring empathy: “The vehicle for compassion is the aesthetic that draws one into looking closely at \nwhat are\, perhaps\, sometimes horrific subjects and embracing them.” He used humor to mask the \natrocities he witnessed in New York. \n  \nIn 1975\, Azaceta debuted with his “Subway Series” at Allan Frumkin Gallery in “New Talent”\, depicting \nthe New York City subway and its passengers as animal-like creatures shaped by an unsympathetic \nenvironment. His colorful palette almost distracts from the grim subjects\, such as dismembered limbs in a \nhotdog box in Ji Ji Ji Express (1974-75) or the figures hanging from nooses in No Parking Any Time \n(1978)\, creating a “tragi-comic outcry at Man’s Condition.” Azaceta’s work\, influenced by both his \nexperiences in Cuba and New York\, was violent and rough\, often compared critically to Goya and \nDaumier\, coming out of a tradition of cartoon-like social commentary. His 1979 solo debut with Allan \nFrumkin focused on the brutality of city life\, leading the New York Post to title their review “Canvas filled \nwith terror.” \n  \nThroughout the 1980s\, Azaceta’s work continued to tackle the dark realities of inner-city life\, emphasizing \nthe experiences of marginalized people. He developed a raw\, expressionistic style of painting on a \nmassive scale to channel the anguish and fear around him. In 1987\, in response to the growing crisis of \nAIDS\, Azaceta began making paintings directly addressing the senseless loss of the epidemic. Over the \nnext few years\, he completed several works directly addressing the disease – bleakly illustrating the toll in \nhuman lives through piles of skulls and ticking clocks seen in The Plague: Aids Epidemic (1987). He \nutilized a humanistic and sympathetic approach\, where often his figures are self-portraits. By equating \nhimself with those affected\, his message is one of empathy. \n  \nLuis Cruz Azaceta currently lives and works in New Orleans. Azaceta has exhibited internationally and \nwas the subject of a career retrospective organized by the American Museum of the Cuban Diaspora\, \nMiami in 2016. He has been the recipient of several major grants and awards including a Guggenheim \nMemorial Foundation Grant in 1985\, a Mid-Atlantic Grant for special projects in 1989\, and a Joan Mitchell \nFoundation Grant in 2009. His work is included in major public collections such as the Metropolitan \nMuseum of Art\, New York; the Museum of Fine Arts\, Boston; the Museum of Modern Art\, New York; the \nBlanton Museum of Art\, Austin; El Museo del Barrio\, New York; the Smithsonian American Art Museum\, \nWashington DC; the Crocker Art Museum\, Sacramento; and the Museo de Arte Contemporaneo\, \nMonterrey\, Mexico\, among others.
URL:https://artinamericaguide.com/event/luis-cruz-azaceta-loose-screws-1974-1989/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240412T180000
DTEND;TZID=America/New_York:20240412T200000
DTSTAMP:20260503T161836
CREATED:20240415T134834Z
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SUMMARY:Chris Ballantyne: Real Estate Developments
DESCRIPTION:George Adams Gallery is pleased to present Real Estate Developments: New Paintings\, an exhibition of paintings and a site-specific mural by Chris Ballantyne\, on view from April 12 through May 24\, 2024. This is Ballantyne’s second exhibition with George Adams Gallery. The gallery will host an opening reception with the artist on Friday\, April 12\, from 6 – 8 PM. \nThe exhibition features a selection of recent paintings that depict contemporary landscapes\, exploring the intersection of manufactured structures and natural environments. Using acrylic on birchwood panels\, Ballantyne juxtaposes renderings of crowded suburban homes and cityscapes with the depth of an ocean or the ruggedness of a steep ravine. The inherent texture of the birchwood grain enhances the depth of his compositions\, infusing his landscapes with a tangible\, tactile quality. \nBallantyne’s childhood was marked by frequent moves due to his father’s career with the Coast Guard\, often to coastal suburbs across the US. These experiences left him with a strong connection to suburbia – for example\, the painting Housetops (2023)\, which captures the sprawling nature of suburban development and the monotony of endless\, interlocking rooftops. In Rooftop with Lounge Chair (2023)\, Ballantyne renders an urban apartment building in tranquil light. By deliberately omitting descriptive details\, the artist encourages viewers to project their own experiences onto the scene\, utilizing the raw\, unfinished wood panel as the primary backdrop for his composition. Notably\, while Ballantyne’s subjects are often the urban and suburban landscapes\, a human presence is implied but never depicted\, infusing them with an unsettling sense of stillness. \nServing as a counterpoint to the built-up environments of his paintings\, Ballantyne will create a site-specific work for the exhibition: a mural embodying the depths of a body of water\, painted directly on the gallery wall. \nChris Ballantyne (b. 1972\, Mobile\, AL) has been the subject of over fifteen solo exhibitions in New York\, Los Angeles\, and San Francisco. He was the recipient of several awards including the Tournesol Award and Residency at the Headlands Center for the Arts in 2004\, a Joan Mitchell Foundation Grant in 2005\, and a Tamarind Institute Invitational Residency in 2013. His work is included in public collections such as the Whitney Museum of American Art\, New York\, the Art Rotterdam Foundation\, Rotterdam\, The Netherlands\, and the Judith Rothschild Foundation\, New York\, among others. Ballantyne received his BA from the University of South Florida\, Tampa in 1997 and his MFA from San Francisco Art Institute in 2002. Ballantyne lives and works in Manhattan\, New York.
URL:https://artinamericaguide.com/event/chris-ballantyne-real-estate-developments/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
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DTSTART;TZID=America/New_York:20240412T180000
DTEND;TZID=America/New_York:20240412T200000
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SUMMARY:Noel Neri: Visual Koans
DESCRIPTION:The George Adams Gallery is pleased to present Visual Koans: Sculpture and Works on Paper\, a survey exhibition of works by Noel Neri. Neri’s debut exhibition with the gallery will be on view from April 12 through May 24\, 2024. The gallery will host an opening reception with the artist on Friday\, April 12\, from 6 to 8 PM. \nNoel Neri’s sculptures\, though initially appearing abstract\, are meticulously crafted based on precise measurements derived from bodily proportions. Coated in auto body paint on steel\, Neri’s sculptures stand as imposing monuments to introspection and enlightenment. For example\, Govardhana Mountain (2019) is a self-portrait—its dimensions correspond directly to Neri’s overall proportions. In his pursuit to strip away vanity and ego\, Neri reduces the human form to austere geometric shapes\, ensuring that each dimension corresponds precisely to a bodily reference. Through this process\, Neri’s sculptures transcend mere representations of physical bodies\, instead serving as reflections of the mind and spirit\, evoking the ephemeral nature of corporeal existence. \nApproaching the figure as non-representational\, Neri offers an alternative means of self representation\, eschewing traditional depictions in favor of abstract forms that examine the essence of being. His work functions akin to visual koans—riddles used in Zen Buddhism to transcend logical reasoning and stimulate enlightenment. Like a koan\, Neri’s intention is for his sculptures to pose profound questions\, encouraging viewers to contemplate personal growth and the shared human condition. Through introspection\, Neri’s works invite individuals to contemplate their own evolution and the interconnectedness of humanity. \nNoel Neri (b. 1962\, San Francisco\, CA) received his BFA from the San Francisco Art Institute in 1995 and his MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art in 1998. His work is in public collections including the San Francisco Museum of Modern Art and the Pennsylvania Academy of the Fine Arts. Neri lives and works in Philadelphia\, Pennsylvania.
URL:https://artinamericaguide.com/event/noel-neri-visual-koans/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240223T180000
DTEND;TZID=America/New_York:20240406T180000
DTSTAMP:20260503T161836
CREATED:20240226T154014Z
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SUMMARY:Joanna Beall Westermann: 'Works from the Estate'
DESCRIPTION:The George Adams Gallery is pleased to announce its representation of the Estate of Joanna \nBeall Westermann. Our first exhibition of her work will be held from February 23rd to \nApril 6th in the back gallery. The gallery will host a reception on February 23 from 6-8 \npm. \n  \nBeall Westermann’s artistic style was a fusion of various influences\, notably modernism\, \nexpressionism\, and surrealism. She exhibited a masterful command of color and \ncomposition\, often blending multiple scenes and elements within a single plane. While \nsurrealism permeated much of her work\, her paintings and drawings remained firmly \ngrounded in reality rather than delving into a purely dreamlike realm. Over time\, her \nartistic expression evolved toward greater abstraction\, culminating in works of profound \nsimplicity and depth. \n  \nBorn in Chicago in 1935 and raised in Connecticut\, Joanna Beall Westermann was deeply \nimmersed in the world of art from an early age\, as the daughter of the renowned graphic \ndesigner and painter Lester Beall Sr. Her education took her to Yale University\, where she \nstudied under Josef Albers\, and to Mexico\, where she apprenticed with Diego Rivera\, \nbefore completing her Bachelor of Fine Arts degree at the School of the Art Institute of \nChicago in 1958. It was in Chicago that she met her husband\, H.C. Westermann\, a sculptor \nand printmaker\, with whom she shared a symbiotic artistic relationship\, exchanging ideas \nand techniques. \n  \nBeall Westermann’s work was featured in numerous institutional presentations\, including \nexhibitions at the Wadsworth Atheneum\, Hartford\, Connecticut\, 1973; Whitney Museum \nof American Art\, New York\, 1973; The School of the Art Institute\, Chicago\, 1976; UCLA \nUniversity Galleries\, Los Angeles; Denver Art Museum\, Colorado; Oakland Museum\, \nCalifornia; and the Herbert F. Johnson Museum of Art\, Cornell University. Beall \nWestermann showed extensively throughout her career including exhibitions at Allan \nFrumkin Gallery\, Chicago\, 1960 and 1961; Rolf Nelson Gallery\, Los Angeles\, 1968 and \n1971; The Great Building Crack Up Gallery\, New York\, 1973; James Corcoran Gallery\, Los \nAngeles\, 1974\, 1977 and 1985; and Xavier Fourcade Gallery\, New York\, 1980. Her work \nis held in the collections of the Smart Museum of Art\, the University of Chicago and the \nCopley Foundation\, New York. Beall Westermann passed away in 1997 in Connecticut.
URL:https://artinamericaguide.com/event/joanna-beall-westermann-works-from-the-estate/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240223T180000
DTEND;TZID=America/New_York:20240223T200000
DTSTAMP:20260503T161836
CREATED:20240206T152936Z
LAST-MODIFIED:20240206T152936Z
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SUMMARY:Tom Burckhardt: Ulterior Motif
DESCRIPTION:The George Adams Gallery is pleased to present Ulterior Motif\, an exhibition of new abstract paintings by Tom Burckhardt\, on view from February 23 through April 6. Ulterior Motif is Burckhardt’s first solo exhibition at George Adams. The gallery will host an opening reception with the artist on Friday\, February 23 from 6 – 8 PM. \nTom Burckhardt’s work explores the intersection of abstraction and figuration. Through the skillful use of a diverse range of marks\, Burckhardt encourages the viewer to discern distinct forms and figures within his layered abstractions. This play of perception\, where seemingly random patterns give rise to recognizable images\, is known as pareidolia—a concept Burckhardt has been consistently engaging with in his work. \nIn his latest series\, there is a noticeable shift in both scale and composition when compared to his previous paintings\, stemming from a combination of intentional and unintentional circumstances. Deliberately\, Burckhardt opted to work on a larger scale\, aiming to construct a “society” of relational elements within his abstractions\, as opposed to the individualized “portraits” of his previous work. As for the unintentional\, Burckhardt’s mother\, the artist Yvonne Jacquette suddenly passed away at the age of 88 in April\, significantly influencing Burckhardt’s development in this series. \nThe works in Ulterior Motif incorporate pigments sourced from pre-mixed tubes Burckhardt found in Jacquette’s studio\, and the canvases are remnant rolls of linen she had left behind. Inspired by Jacquette’s method\, Burckhardt for the first time tacked linen onto his studio walls instead of stretching the canvases in advance. This departure proved productive for Burckhardt\, as it eliminated the constraints of cost and deliberation\, ultimately resulting in fresh and un-busied compositions. \nWhile Burckhardt’s compositions at first appear entirely abstract\, many representational elements begin to emerge upon closer inspection. For example an “ear” in the top right of A Pointed (2023)\, or the “reclining nude” of Peeping Tomorrow (2023)\, offer clear visual cues for viewers\, though Burckhardt’s style resists overt figural identification. While Burckhardt acknowledges the “figures” in his works may appear as fractured\, he prefers the adjective “congealed” – as an image coming together rather than breaking apart (an attitude Burckhardt attests to his own optimism). Perceiving the compositions becomes a visual game – discovering the painted pathways combine into something familiar\, yet experiencing the overall abstraction simultaneously. \nTom Burckhardt was born in New York City in 1964. He attended SUNY Purchase and graduated with a BFA in painting in 1986\, after which he attended the Skowhegan School of Painting and Sculpture. His work has been the subject of over thirty solo exhibitions at institutions including the McNay Art Museum in San Antonio\, TX; the Hudson River Museum in Yonkers\, NY; and the Knoxville Art Museum in Knoxville\, TN. Burckhardt was a participant of the 2016 Kochi-Muziris Biennale in Kerala\, India and an artist in residence at the Yaddo Foundation in New York State in 2019 and Pepper House\, Kochi\, India in 2020. He has received numerous grants and awards\, including three grants from the New York Foundation for the Arts\, a Joan Mitchell Foundation Grant\, a Guggenheim Foundation Grant\, two Pollock-Krasner Foundation Grants\, and the Richard and Hinda Rosenthal Foundation Award from the American Academy. He currently teaches part-time at SUNY Purchase.
URL:https://artinamericaguide.com/event/tom-burckhardt-ulterior-motif/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240105T100000
DTEND;TZID=America/New_York:20240217T180000
DTSTAMP:20260503T161836
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:20260503T161836
CREATED:20231027T173258Z
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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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DTSTART;TZID=America/New_York:20231103T180000
DTEND;TZID=America/New_York:20231222T170000
DTSTAMP:20260503T161836
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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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SUMMARY:Katherine Sherwood\, ‘Cajal’s Revenge\,’ Paintings: 1998 – 2008
DESCRIPTION:During September and October\, the George Adams Gallery is pleased to present our third exhibition of paintings by Bay Area artist Katherine Sherwood. Cajal’s Revenge: Paintings\, 1998-2008 showcases a selection of large-scale abstract paintings that explore Sherwood’s experience with disability\, incorporating magical seals and collaged medical images of her own brain. \nActive in the East Village art scene in the 1980s\, Sherwood decamped to California for a faculty position at UC Berkeley in 1990. During this period\, she was cast as a new wave painter\, creating deliberately roughhewn figurative paintings that explored themes of religion\, gender\, and technology. Her work at the time featured images of the brain and healing seals from The Lemegeton\, a medieval grimoire attributed to King Solomon. \nIn 1997\, at the age of 44\, Sherwood had a massive stroke–a cerebral hemorrhage that paralyzed the right half of her body–including her dominant painting hand–and left her temporarily unable to speak. She would later describe this event as her life catching up to her art. During a follow-up appointment\, Sherwood caught sight of an angiogram of the blood vessels in her brain and convinced a radiologist to give her copies of the images. \nUpon returning to the studio\, Sherwood reinvented her process. She began by collaging blown up cerebral angiograms of her brain onto large canvases. Then\, laying the work flat\, she poured loose\, gestural passages of non-toxic latex paint\, which cracked and pitted as it dried\, accentuated with a dark green patina. Although these works may at first appear abstract\, they are fluid renderings of Solomon’s magical seals–Foras\, Valefor\, Gremory\, Sallos\, Balam–each of which is ascribed specific healing powers. \nWhile the critical response was positive\, praising Sherwood’s freer\, more intuitive approach to painting\, there was a tendency to impose an “overcoming narrative\,” an ableist trope that insisted she created this work despite her physical limitations. Sherwood sees her disability as an integral part of her creative process and a positive part of her identity\, and the work\, consequently\, is a celebration of difference and the inevitable changes that happen to our bodies and minds. \nThe exhibition encompasses a range of work from this period\, including colorful gestural abstract paintings which feature collaged elements. Valefor I (1998) is one of Sherwood’s earliest post-stroke prototypes. Here\, a figure portrayed in loosely applied baby blue paint is juxtaposed on a grid composition comprising  stark\, monochromatic medical images of Sherwood’s own brain. Notably\, the figure’s bodily form is based on the emblematic seal known as “Valefor”\, an entity reputed for its capacity to cure all ills. The monumental Sephora (2001)\, is a prime example of Sherwood’s abstract style. Fluidic loops and pools of pain rendered in blue\, gray\, and ivory traverse the collaged cerebral vasculature with patterns of craqueleur. These gestures collectively portray the seal “Balam”\, which confers wit\, humor\, and mental ability on its recipient. \nKatherine Sherwood was born in New Orleans\, Louisiana in 1952. She received a BA from the University of California\, Davis\, in 1975\, and an MFA from the San Francisco Art Institute in 1979. She taught at UC Berkeley for over thirty years until retiring in 2011. Sherwood has exhibited internationally and has been the recipient of several awards\, including an NEA Artist Fellowship in 1989\, a Pollock-Krasner Grant in 1998\, a Guggenheim Fellowship Award in 2005\, and a Joan Mitchell Foundation Grant in 2006. She continues to be an activist for disability rights and social justice\, founding and teaching the course Art\, Medicine and Disability at UC Berkeley for over a decade\, as well as playing an active role at the Creative Growth Art Center in Oakland\, CA\, which supports art created by adults that have physical or intellectual disabilities. Her work is in public collections including the Ford Foundation\, New York; the San Francisco Museum of Modern Art\, California. Sherwood lives and works in Rodeo\, California.
URL:https://artinamericaguide.com/event/katherine-sherwood-cajals-revenge-paintings-1998-2008/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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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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DTSTART;TZID=America/Halifax:20230223T180000
DTEND;TZID=America/Halifax:20230401T180000
DTSTAMP:20260503T161836
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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
DTSTAMP:20260503T161836
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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:20220906
DTEND;VALUE=DATE:20220907
DTSTAMP:20260503T161836
CREATED:20220906T174709Z
LAST-MODIFIED:20220906T174709Z
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SUMMARY:Katherine Sherwood\, 'Pandemic Madonnas and Other Views from the Garden'
DESCRIPTION:The George Adams Gallery is pleased to present our second exhibition of paintings by Bay Area artist Katherine Sherwood titled\, Pandemic Madonnas and Other Views from the Garden. Building on two on-going bodies of work\, her Venuses and Brain Flowers\, the exhibition will show the evolution of both series while also introducing Sherwood’s Pandemic Madonnas\, completed within the past year. Accompanying the exhibition is an extensively illustrated catalogue\, In the Garden of the Yelling Clinic\, surveying the development of all three\, ongoing bodies of work\, with scholarly essays by Ginny Treanor and Farley Gwazda\, along with a personal reflection by the artist. \nSherwood has long used her artwork to engage with concerns around disability and feminism\, by considering how both ableism and gender play a role in our understanding of art from both a historical and contemporary perspective. Herself disabled following a debilitating cerebral hemorrhage at forty-four\, in the decades since\, such concerns have only become more urgent and visible in Sherwood’s work. In these recent paintings\, she continues with her strategy of making revisionist additions to art historical images\, collaging in scans of her own brain or depicting her subjects with assistive medical devices – particularly those she uses herself. Simultaneously\, she has deepened her exploration of the historical precedent of female artists\, notably in a major self-portrait after an altarpiece by the 17th century Portuguese painter\, Josefa de Óbidos. While the original painting combines elements from devotional paintings and still-lives\, a hallmark of de Óbidos’s oeuvre\, Sherwood replaces the central Christ child with her own disabled body\, offering a two-fold critique: of the limitations in subject matter female painters historically faced and the liberating potential of the self-portrait. \nThe duality present in Venus (after de Óbidos) reflects two broader\, inter-related aspects of Sherwood’s work. She addresses the concept of the male gaze and preconceived notions of beauty in her Venus paintings\, modeled after classical odalisques\, while the Brain Flower series flips the script\, re-inserting the female gaze by considering the work of Renaissance female painters\, who were often limited in their subject matter to still-lives. As art historian Ginny Treanor points out in her contribution to the catalogue\, for the women whose paintings Sherwood appropriates\, the floral arrangements they painted were as much a scientific enterprise as an artistic one. Following in this tradition\, by replacing select flowers with collaged scans of her own brain; Sherwood draws a parallel between the beauty and complexity within both structures. \nAnother commonality across these series is the use of art historical reproductions as a substrate\, where Sherwood is literally working on the back of historical paintings or\, as in the case of her Pandemic Madonnas\, on the front. Working from examples of the Madonna and Child by Dürer\, Botticelli\, Raphael and others\, she directly alters the image\, adding in prosthetics\, braces\, crutches and other devices to the subjects as a commentary on the immaculate\, idealized body. Pointedly\, Sherwood intentionally models these interventions after antiquated\, outdated medical devices\, further drawing attention to our preconceptions around the visible markers of disability. A seated Madonna may be placed in a wheelchair\, the baby Jesus given a prosthetic limb or brace\, however the effect is not to undermine\, but rather transcend. As these paintings were intended to reveal the divine as more perfect beings\, Sherwood’s manipulations offer a more nuanced understanding of our inherent humanity. \nAs Sherwood discusses the trajectory of her work over the last ten years in the catalogue accompanying the exhibition\, she elaborates on her understanding of the “Garden” as a conceptual extension of the imaginary “Yelling Clinic:” a space for healing that has served as the inspiration for her paintings since 2010. The Yelling Clinic is also a disability collective Sherwood co-founded in 2008\, which among its goals\, combines art and activism to move conversations around disability outside a medical context. For Sherwood\, the interventions and re-contextualizing she manifests within her paintings are in themselves acts of healing and therefore an extension of her activism. Her “Garden” is home to the Brain Flowers\, where the blooms she paints are equally reminders of mortality and objects of beauty in their own right.
URL:https://artinamericaguide.com/event/katherine-sherwood-pandemic-madonnas-and-other-views-from-the-garden/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220707
DTEND;VALUE=DATE:20220820
DTSTAMP:20260503T161836
CREATED:20220623T195611Z
LAST-MODIFIED:20220623T195611Z
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SUMMARY:(m)ad-libs
DESCRIPTION:Opening Thursday\, July 7\, is (m)ad-libs\, a group exhibition featuring paintings\, drawings and sculpture by Robert Arneson\, Lucia Hierro\, Nina Katchadourian\, Scott Reeder\, Edgar Serrano\, Mungo Thomson\, Alice Tippit and Trevor Winkfield. Inspired by the classic word game\, (m)ad-libs looks to artists who use substitution or combinations to humorous or critical effect.
URL:https://artinamericaguide.com/event/mad-libs/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220512
DTEND;VALUE=DATE:20220702
DTSTAMP:20260503T161836
CREATED:20220609T144707Z
LAST-MODIFIED:20220609T211133Z
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SUMMARY:Robert Colescott: Frankly…
DESCRIPTION:The George Adams Gallery is pleased to present an exhibition of paintings and works on paper by the late artist\, Robert Colescott (1925-2009). Celebrated for his incisive send-ups of art-historical tropes and the experience of being a Black man in the United States\, Colescott’s paintings continue to engage and provoke. This exhibition will feature works predominantly from the 1990s\, a period which encompasses his selection in 1997 as representative of the United States at the 47th Venice Biennale. \nRace is at the center of Colescott’s paintings as a meaty\, many-faceted concern that he tackles from every direction. His language is one of stereotypes and appropriation\, used to often-comic effect while lampooning the basis of such prejudices. Weaving figures into complex\, narrative sequences that combine aspects of current events\, racial politics and popular culture\, Colescott brings to light the inherent contradictions of society while refusing to shirk from the less than savory aspects. From the late 1980s on\, his paintings grew more complex in their compositions and layering of vignettes\, references and regions of bold color. In a conversation from 1989\, Colescott noted this shift\, explaining\, “the more years I take on\, the more aware I am of the complexities of it all\, of life\, of art\, and of my reactions.” \nOne of the more pervasive subjects of Colescott’s work is inter-racial tensions\, particularly in the context of sex – as he put it\, “you can’t talk about race without talking sex in America.” In the painting Frankly My Dear… I Don’t Give a Damn (1990) he references the 1939 film “Gone With the Wind” and its famous line. While one of the most lauded films in history\, since its release\, “Gone With the Wind” has been infamous for its problematic depiction of slavery. In the foreground of the painting\, a Rhett Butler-esque man cradles a swooning woman – not the heroine of the film but a Black woman in a check dress and turban\, presumably meant to indicate her servitude. Here Colescott is subverting the central love story of the movie\, co-opting Butler’s parting line into a defiance of racial prejudices. Such considerations also appear in Blues’ Angel (1990)\, picturing a suave Black singer with a white woman in a blue dress looking on. The title is likely a reference to the New York nightclub\, The Blue Angel\, which opened in 1943 and was one of the first de-segregated clubs in the city. Colescott may also be playing with the name – in her blue dress\, is it the woman or the singer who is the “Angel” here? \nBeyond such controversial references\, other\, more mainstream cultural icons appear in Colescott’s work\, including Dagwood Bumstead (1996)\, the everyman of comic fame\, preparing to bite into his signature sandwich while his wife Blondie looks on disapprovingly. In a more biographical turn\, the painting Signs and Monuments (Kilroy) (1999) incorporates a number of personal references while more broadly offering a send up of capitalism. The ‘Kilroy’ of the title derives from a popular graffiti tag employed by service men during WWII. Usually written as “Kilroy was here” along with a cartoon of a man peering over a wall\, Colescott\, who served in the Army during the war and most certainly was familiar with the image\, reproduces the tag with few alterations besides abbreviating the line. Elsewhere in the painting\, a bloated cartoon face features the caption ‘The Sphinx’ and a few outlines of pyramids round out the allusion to Colescott’s time spent in Cairo in the late ’60s – a formative experience. \nWhile Colescott spent less than two years in Egypt\, the effect was profound. His study of Egyptian art\, both ancient and contemporary\, informed his approach to figurative painting\, including the emergence of race as a subject that he would go on to finesse after his return to the States in 1969. It also marked a stylistic shift: his use of acrylics over oils and an increasingly colorful palette\, both of which characterize Colescott’s work for the rest of of his career. Particularly in his later works\, there is a balance of expressionistic passages and a biting\, very American satire. As Colescott described it\, the result is “an integrated ‘one-two punch’\,” where the first impact is “‘Oh wow!’ And then\, ‘oh shit!’ when they see what they have to deal with in subject matter.”
URL:https://artinamericaguide.com/event/robert-colescott-frankly/
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:20260503T161836
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200716
DTEND;VALUE=DATE:20200927
DTSTAMP:20260503T161836
CREATED:20200709T193910Z
LAST-MODIFIED:20200709T205217Z
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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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200317
DTEND;VALUE=DATE:20200901
DTSTAMP:20260503T161836
CREATED:20200701T162243Z
LAST-MODIFIED:20200701T163630Z
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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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GEO:40.7503804;-74.003922
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200305
DTEND;VALUE=DATE:20200531
DTSTAMP:20260503T161836
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200116
DTEND;VALUE=DATE:20200301
DTSTAMP:20260503T161836
CREATED:20200118T013942Z
LAST-MODIFIED:20200118T013942Z
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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
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