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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
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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:20260505T203901
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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:20220907
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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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DTSTART;VALUE=DATE:20220707
DTEND;VALUE=DATE:20220820
DTSTAMP:20260505T203901
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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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DTSTART;VALUE=DATE:20220512
DTEND;VALUE=DATE:20220702
DTSTAMP:20260505T203901
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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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DTSTART;VALUE=DATE:20201008
DTEND;VALUE=DATE:20201220
DTSTAMP:20260505T203901
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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
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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:20260505T203901
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200305
DTEND;VALUE=DATE:20200531
DTSTAMP:20260505T203901
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200116
DTEND;VALUE=DATE:20200301
DTSTAMP:20260505T203901
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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