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DTSTART;VALUE=DATE:20220512
DTEND;VALUE=DATE:20220702
DTSTAMP:20260505T203922
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:20260505T203922
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200716
DTEND;VALUE=DATE:20200927
DTSTAMP:20260505T203922
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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DTSTART;VALUE=DATE:20200317
DTEND;VALUE=DATE:20200901
DTSTAMP:20260505T203922
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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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200305
DTEND;VALUE=DATE:20200531
DTSTAMP:20260505T203922
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200116
DTEND;VALUE=DATE:20200301
DTSTAMP:20260505T203923
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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