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 His description of Saul's early paintings and drawings runs the gamut of art-historical references: "...Max Beckmann collides with jingoist all-American Thomas Hart Benton within an abstract structural armature of Willem de Kooning, all slathered with a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.