Enrique Chagoya was recently interviewed for the National Portrait Gallery to discuss his 2016 lithograph Aliens Sans Frontières. This work is included in NPG's current exhibition Eye to I: Self Portraits from 1900 to Today, on view through August 18th!
Robert Arneson's 1965 sculpture Scale has been acquired by the San Francisco Museum of Modern Art. An iconic work from early in his career, Scale is a prime example of Arneson’s brand of irreverent Pop and represents an important milestone in the development of Robert Arneson as an artist.
Enrique Chagoya will be speaking at the San Francisco Hunters Point Shipyard later this month. Enrique Chagoya: His New Paintings, Aliens Sans Frontières, an artist’s slide talk, is the third program in the To The Point series. Chagoya will speak about his recent work, which focuses on immigration and colonialism.
During her tenure as 2019 Frances Niederer Artist-in-Residence, Diane Edison will have a solo exhibition at the Eleanor D. Wilson Museum at Hollins University. The exhibition will consist of self-portraits and images of family members, co-workers, and friends dating from 1997-2015. Edison will give a lecture focusing on the exhibition on February 7 at the Richard Wetherill Visual Arts Center.
Enrique Chagoya's work is featured in a group exhibition at the Cleveland Museum of Art. Who RU2 Day: Mass Media and the Fine Art Print draws from the museum’s collection, featuring work by contemporary artists who exploit printed and photographic media in ways that intentionally reveal the confusing line between art and information, fact and fiction.
Joan Brown is included in the exhibition One Day at a Time: Manny Farber and Termite Art at the Museum of Contemporary Art Los Angeles. This group exhibition is inspired by American painter and film critic Manny Farber and his legendary underground essay “White Elephant Art vs. Termite Art” (1962).
Our previous exhibition of work by Luis Cruz Azaceta was reviewed in Diario de Cuba. Writer Alejandro Anreus notes "Unlike Francis Bacon or José Luis Cuevas, the self-portrait in the hands of Cruz Azaceta is never the usual narcissistic grimace of Anglo-Irish or Mexican. Cruz Azaceta uses his face and body to disembowel, showing us without any pain his wounds..."
Roy De Forest and William T. Wiley are featured in West by Midwest at the Museum of Contemporary Art, Chicago. This exhibition illuminates the ways that contemporary art practices spread and develop by tracing the intersecting lives of artists who have migrated from the American Midwest to the West Coast since the mid-20th century.
Robert Arneson, Enrique Chagoya, and Robert Hudson will be included in a 40th anniversary exhibition at Sonoma State University Art Gallery. 40 by 40 celebrates the University Art Gallery's anniversary with an exhibition presenting one work each by 40 artists who have been featured in either solo or group shows since the Gallery first opened in 1978.
Enrique Chagoya is featured in Califas: Art of the U.S.-Mexico Borderlands at the Richmond Art center. Featuring works by 21 contemporary artists and collaborative groups, Califas explores the origins of migrant memory, the consequences of boundary line fortifications, the mixing of border cultures, responses to injustice and inequality, and solutions to advance the borderlands and its peoples.
Joan Brown's 1971 painting Portrait of a Girl has been acquired by the Minneapolis Institute of Art. The work will be included in the upcoming exhibition New to Mia: Paintings of All Shapes and Sizes!, highlighting new aquisitions at Mia by modern and contemporary artists across genres and cultures.
Enrique Chagoya has an upcoming solo exhibition at the Hallie Ford Museum of Art at Willamette University. Enrique Chagoya: Reverse Anthropology features Chagoya's deceptively subversive prints that explore issues of immigration, colonialism, the economy, the government, the commodification of art, and the recurring subject of cultural clash that continues to riddle contemporary life.
Works by Jack Beal, Enrique Chagoya, and Gregory Gillespie are featured in the National Portrait Gallery's upcoming exhibition Eye to I: Self-Portraits from 1900-Today. Drawing from the National Portrait Gallery’s vast collection of self-portraits, this exhibition explores and thinks critically about how American artists have chosen to portray themselves over the past two centuries.
Works by Elmer Bischoff and Joan Brown are included in the exhibition Wayne Thiebaud: Artist's Choice at the San Francisco Museum of Modern Art. For this exhibition, Thiebaud delved deep into the museum’s storage vault. His choices include both old friends and new discoveries by European Modernists.
Joan Brown and Diane Edison will be featured in the upcoming exhibition at Concord Center for the Visual Arts titled In Her Own Image: Self Portraits by Women from 1900-2018. This exhibition, curated by Amy Sudarsky, includes paintings, drawings and prints designed to present the evolution of images that women have made of themselves since the beginning of the twentieth century.
Robert Arneson and Joan brown are included in HINDSIGHT/INSIGHT: Reflecting on the Collection at the University of New Mexico Art Museum. This exhibition highlights over 50 artworks acquired since the museum was founded in 1962. Focus is primarily on international art movements of the 1960s and 70s including Pop, Minimalism, Conceptual Art and California Funk.
Diane Edison will spend Spring Term 2019 serving as Hollins University’s Frances Niederer Artist-in-Residence. The artist-in-residence program enables the university to bring a recognized artist to campus every year to work in a campus studio and teach an art seminar open to all students. During their time at Hollins, the artist-in-residence is a vital part of the university and greater Roanoke communities.
Luis Cruz Azaceta will be included in Pop América, 1965-1975 at the Nasher Museum at Duke University. This exhibition will examine the participation and significant contribution of Latin American and Latino/a artists working at the same time and alongside their U.S. and European counterparts during this period, and will make a timely and critical contribution to a more complete understanding of this artistic period of Pop.
Joan Brown is included in an exhibition at the University Art Gallery at UCI. First Glimpse: Introducing the Buck Collection will offer a preview of the Gerald Buck Collection, acquired in 2013, in anticipation of the construction of UCI Institute and Museum for California Art.
Amer Kobaslija's solo exhibition Amer Kobaslija: Spirit of Place is on view at the Lycoming College Art Gallery. The show features small-scale older, tightly executed oil paintings of Kobaslija's cluttered art studios from a bird’s eye view, along with recent landscapes inspired by travels to Florida, Japan and Switzerland. Painted in oil, the seemingly idyllic scenes are charged with turbulent histories.
The San José Museum of Art's exhibition Rise Up! Social Justice In Art From The Collection of J. Michael Bewley features works by Robert Arneson, Enrique Chagoya, Luis Cruz Azaceta, among others. The works of art included in this exhibition embody the value system of their collector. They explore issues that resonate with current political movements such as Black Lives Matter, #MeToo, and the contemporary LGBTQ movement.
An exhibition of drawings by Diane Edison is currently on view at the Neil Britton Art Gallery at Virginia Wesleyan University. Diane Edison - Black and White surveys a group of eleven portrait drawings depicting Edison's friends, family, and fellow artists, dating from 1997-2015.
Gregory Gillespie's 'Tomb II' 1998-99 is on view at the National Portrait Gallery in Washington, DC. This installation, made from mixed media on wood panels, is one of many shrine-like self portrait constructions made by Gillespie. 'Tomb II' is currently on long-term view.
Robert Arneson is included in The Incongruous Body, a group exhibition at the American Museum of Ceramic Art. The exhibition includes fourteen artists who represent, stylize, hybridize, and deconstruct the human body to starkly different comic effect. The work being exhibited invites the viewer to revel in the awkward, to embrace the weird and to scrutinize a little bit too closely themselves and the world of which we are all a part.
Roy De Forest will be included in the exhibition A Time Before We Were Born: Visions of Arcadia In Contemporary Painting at Sylvia Wald & Po Kim Gallery. Taking its title from a 1983 Talking Heads song “This Must Be the Place (Naïve Melody),” this exhibition surveys how painters have drawn inspiration from existing and invented mythologies to create interpretations of natural and fantastical paradises, illustrating a necessity for visual hope and harmony.
Enrique Chagoya currently has a solo exhibition 'Reimaging the New World' of his prints and codices at the Nevada Museum of Art in Reno, NV. Chagoya often appropriates the visual tropes of Western modernism in his works, just as the masters of Modern art cannibalized so-called primitive forms without properly contextualizing them. His codices, based on the pre-Columbian format, illustrate an imagined world in which the European conquest of the New World failed and the normative culture of the Americas is based in indigenous ideology.
The current exhibition, ‘Way Bay,’ at the Berkeley Art Museum and Pacific Film Archive (BAMPFA) puts together an exposition of diverse works of Bay Area art, film and poetry spanning 200 years of creativity. Works by Enrique Chagoya, Joan Brown, Elmer Bischoff and David Park are included in the exhibition, among many of their contemporaries.
An brief survey of work by Enrique Chagoya, 'Aliens Sans Frontiéres' is currently on view at the Cathy and Jesse Marion Art Gallery of the State University of New York at Fredonia. The exhibition highlights Chagoya's approach towards upending Modernist principles, featuring a range of the artist's work. Included are a selection of paintings, the series of etchings Recurrent Goya, based on Goya's Caprichos, as well as examples of the Chagoya's Illegal Alien codexes, derived from Pre-Columbian books and featuring painted, drawn, and collaged images.
Our exhibition of painting by Joan Brown is reviewed in the Brooklyn Rail. Writer David Carrier notes "Brown’s absolute mastery of the medium of painting" and identifies her minimalist tendacies as part of the tradition of modernist painting, which (quoting Baudelaire), “fills you with a pleasure which is absolutely divorced from its subject.”
Bosnian American artist Amer Kobaslija's upcoming solo exhibition The Fear of the Unknown opens September 16th at the Galerie zur Matze in Brig, Switzerland and will run through October 22nd. The show is a part of the 2017 Wallis Triennale, a national exhibition which focuses on Swiss art, as well as other European artists. Kobaslija was invited to represent Brig after his residency last year at AiR Brig.
Gallery artist Enrique Chagoya's work will be featured in the upcoming exhibition How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney, at the Schindler House and the Luckman Fine Arts Complex from September 9, 2017, through January 14, 2018. The MAK Center presents at these two locations "an exhibition of over 150 works by 48 Latin American artists who investigate and challenge nearly one hundred years of cultural influence between Latin America and Disney. Spanning painting, photography, graphic work, drawing, sculpture, video, documents, and the critical responses generated, the joint exhibition explores the idea that there are no clean boundaries between art, culture, and geography, and deconstructs how such notions are formed and disputed."
Our exhibition of paintings by Albuquerque-based artist, Xuan Chen, was reviewed by John Yau in Hyperallergic. Described as "definitely an exhibition to go see", Yau summarizes the work from Chen's 'Light Space Intimacy' series as: "[she] likens the viewer’s experience of her painted constructions to 'exploring a newly acquired digital device,' but they have much more staying power than that."
Now on view at the Schirn Kunsthalle Frankfurt through September 3rd is a major retrospective of the oevre of Peter Saul curated by Martina Weinhart. A catalogue has been published to accompany the exhibtion; titled Peter Saul it includes an interview with the artist and contributing essays from Martina Weinhart and Richard Schiff.
The exhibition spans Saul's career from its origins in the '60s to the present day, and includes such pieces as Saigon (1967), The Government of California (1969), and Ronald Reagan in Grenada (1983).
For more information, visit the exhibition website here.
The Oakland Museum of Art presents Of Dogs and Other People: The Art of Roy De Forest now through August 20. Featuring 50 paintings and sculptures, this is Roy De Forest's first full career retrospective. The exhibition is accompanied by a major monograph by curator Susan Landauer, which can be found here. Said Landauer about De Forest, “His unconventional style of painting is so profound—he’s an extremely important figure in American art. The exhibition offers a great variety of his works, from the humorous and serious to the whimsical and wondrous.”
Peter Saul: Pop to Politics was reviewed in this weekend's LA Times, courtesy of Christopher Knight. His description of Saul's early paintings and drawings runs the gamut of art-historical references: "...Max Beckmann collides with jingoist all-American Thomas Hart Benton within an abstract structural armature of Willem de Kooning, all slathered with a cheeky overlay of Mad Magazine irreverence."
For the innagural exhibition at the new Manetti Shrem Museum of Art at UC Davis, Out Our Way explores the development of the revolutionary UC Davis Department of Art, founded in 1958. The exhibition revives the “spirit of defiant provincialism” which, in merely 10 years, propelled the program to be recognized as one of the most courageous and wildly inventive communities of artists working in the world.
Featuring the work of Wayne Thiebaud, Robert Arneson, William T. Wiley, Roy De Forest, Roland Petersen, Manuel Neri, Ralph Johnson, Ruth Horsting, Daniel Shapiro, Tio Giambruni, Jane Garritson and John Baxter, Out Our Way is on view through March 26, 2017.
More information can be found here.
As part of the Tajan ARTSTUDIO program, a series of special exhibitions held at L'Espace Tajan, Paris, is a special exhibition focusing on artists of the Bay Area, from 1960-1990. Including the work of Robert Arneson, Joan Brown, Bruce Conner, Roy De Forest, Peter Saul, Mark di Suvero, Wayne Thiebaud and William T Wiley, it is the first exhibition of its scope and focus to be presented in Paris. A catalog with essay by Hilarie Faberman has been published for the occasion.
To see the catalog, or for more information about the exhibition, please follow the link below.
The Ringling College of Art and Design will be exhibiting A 10 Year Survey of Amer Kobaslija's painting in the Willis Smith Galleries from January 15 to Feburary 20, 2016. In conjuction with the exhibition Amer will be giving a presentation on 1/14 and a gallery talk on 1/15. For more information on the exhibition and related events please visit the Ringling Exhibition Calendar.
The MAC museum in spain is currently exhibiting This Is Not a Pipe, a solo survey of Lino Lago's paintings. The exhibition is divided into two parts: the first is a wide selection of his early work. The second part focuses on his newest work, which examines the unecessary suffering society inflicts on animals. The show runs from November 12, 2015, to February 28, 2016. More information of This Is Not a Pipe can be found on the MAC museum website.
The twenty-two paintings in this ten-year survey of Amer Kobaslija’s work at the George Adams Gallery varied widely in size. The two largest were well over six feet across, while the smallest measured three-and-a-half inches to a side. The subject matter fell roughly into two buckets: interiors with the flattened perspective of a fish-eye lens, and panoramic, often equally distorted views of desolate or ruined landscapes—Kobaslija’s “spaces” and “places.” For all these scenes, people were noticeably absent, as if they represented empty stages waiting for an entrance. In a few exceptions there was at most a solitary figure in the picture, usually with his or her back turned. Kobaslija’s virtuosic paint handling—the true dramatis personae—united this body of work. While the larger pieces had wonderful passages, the densely packed brushwork of the very smallest paintings was electrifying.
Brown died twenty-five years ago this month, leaving behind a substantial body of work, yet the trajectory of her art and art making, as well as her role in the Bay Area scene, is under-recognized. Solo exhibitions of her paintings are infrequent, and large-scale shows on the East Coast are unheard of. A small survey at George Adams Gallery in New York last spring, Joan Brown: Major Paintings from the 50s, 60s, and 70s, gave shape to Brown’s enthusiastic reception of Bischoff’s example, showing how she searched her immediate environment for things to paint.
The eleven paintings in the exhibition date from 1954 to 1972, covering all but the first two years that he worked figuratively. I found the experience paradoxical: happy to see paintings from different phases while simultaneously wishing that there could have been a larger selection in a more spacious setting. Bischoff may have gotten his due in San Francisco, but he certainly hasn’t gotten it in New York, and I hardly think of him as a regional painter.
Elmer Bischoff: Figurative Paintings
Large, moody, startlingly strong paintings, made between 1953 and 1972, argue for greater recognition for the Bay Area peer of Richard Diebenkorn and David Park. Bischoff countered Abstract Expressionism (which he knew first hand, as a student of Clyfford Still and Mark Rothko) with a stubborn loyalty to figuration. His style might be termed Neo-Expressionist, avant la lettre, but with deep roots in modern traditions. Smoldering color and furious brushwork lend as much drama to a domestic scene, “Girl Getting a Haircut” (1962), as to a grand sea view, “Figure at Window with Boat” (1966). You feel as much as see the art. It feels like joy under pressure. Through Aug. 14.
During Abstract Expressionism’s heyday in the 1950s, three artists in San Francisco turned away from abstraction and back to representational painting, founding a movement that came to be known as Bay Area Figuration. They were David Park, Richard Diebenkorn and the subject of this stirring exhibition at the George Adams Gallery, Elmer Bischoff (1916-1991).
George Adams Gallery is excited to anounce the publication of a new monograph on the life and work of Amer Kobaslija. The books includes essays by Michael Amy, Edward M. Gomez and Patterson Sims in addition to an interview with the artist and 102 color plates. The books exames all of Amer Kobaslija's different bodies of work, including: his paintings of the aftermath of the 2011 earthquake and tsunami in Japan, for which he won a 2013 Guggenheim Fellowship; his ongoing series depicting artist studios; and his recent paintings of Florida's everglades. Copies are available for purchase.
Andrew Lenaghan won the Distinguished Professor Award at The Pratt Institute for the school year of 2015/16. The award is decided by votes from the entire student body.
Two seminal Figurative Expressionists have concurrent exhibitions in two continents. An exhibition of many seminal large canvases by Leon Golub entitled Bite Your Tongue is currently at Serpentine Galleries in London, and Joan Brown’s Selected Major Paintings and Sculptures 1957-1975 is up at George Adams Gallery in New York City.
Joan Brown (1938-1990) was a prodigy in the “Bay Area Figurative style,” and “Portrait of a Chair” (1958), which serves as a kind of frontispiece to this exhibition, is a stunning example of someone mastering scale, composition, color and hell-for-leather brushwork at the tender age of 19.
Amer Kobaslija and Kako Ueda are both participating in Objects to be Contemplated at the Selby Gallery at the Ringling College of Art and Design in Sarasota, FL. The average art viewer spends 27 secounds looking at a work of art; Objects to be Contemplated examines art which encourages the viewer to spend more time with it. The show runs from Feb. 27th until April 4th. For more information, click here.
George Adams Gallery is pleased to anounce that Kako Ueda has been awarded a New York Foundation for the Arts Fellowship for the 2013-14 cycle. For a full list of awards please visit the NYFA website.
Jack Beal only painted in the flat, bright, Hard Edge style seen on view in George Adams Gallery’s current show for four years. Between 1968 and 1972 the New York Realist painter—known for his nude studies and the public murals he produced for the U.S. Department of Labor building—departed from his thick-brushed signature strokes to paint in blinding neon, flat foregrounds, and sharp geometric compositions.
Joan Brown is included in XL: Large-Scale Paintings From the Permanent Collection at the Frances Leman Loeb Art Center at Vassar College. The show consists of large scale paintings - those that measure over 6 feet - which because of their size are rarely exhibited. The show was reviewed in the New York Times, and continues in the vein of the 1947 MoMA show "Large-Scale Modern Painting" . The show runs from March 19th to March 29th, More information can be found here.