Robert Arneson is included in a group exhibition at the Whitney Museum of American Art. Making Knowing: Craft in Art, 1950-2019 surveys how artists have explored craft in their respective practices over the past seven decades. Stemming from the museum's permanent collection, the works included in the exhibition challenge and expand upon ideas of abstraction, popular culture, feminist and queer aesthetics, and relationships to identity and place. Robert Arneson's 1976 Whistling in the Dark is on view alongside works by by over sixty artists such as Ron Nagle, Richard Shaw, and Viola Frey.
Enrique Chagoya will have a solo exhibition at Coulter Art Gallery at Stanford University.
The exhibition, titled Detention at the Border of Language, will be a survey of paintings, drawings, prints and multiples focusing on the idea of alienation and cultural identity. Chagoya, who is a full professor in Stanford's department of Art and Art History, says in a statement "I believe that everybody is an alien. I think that we all come from somewhere else. Nobody is pure ethnically. Those times are gone. Maybe there was never any purity in human history in terms of ethnicity because we are all part of the same genome... My experiences have made me realize that I am from everywhere and from nowhere."
Amer Kobaslija's recent solo exhibition Florida Noir at Arthur Roger Gallery was reviewed by Francesca Aton in Art in America. The article examines the nuances and references in Kobaslija's new body of work on Florida's cultural landscape. Aton writes "Kobaslija’s scenes of hunters and police officers patrolling forlorn lands suggest a postapocalyptic world, but his paintings also envision quotidian experiences during a slow-moving ecological crisis, with desolate landscapes inhabited by families, children, and pets."
Enrique Chagoya is the subject of a solo exhibition at Florida Gulf Coast University Art Galleries.
Everyone is an Alienígeno: Enrique Chagoya is the first survey of the artist’s work in Florida. The exhibition includes prints and paintings on his political and social activism, addressing issues such as national borders, immigration and cultural conflict. Chagoya states "...As an artist I have the right to make my own construction of history, not necessarily ideological but by using artistic license to construct a narrative, with humor and a more contemporary feel, that is different from the dominant history."
Karen Nikos-Rose has recently posted a story to the UC Davis Arts Blog on Robert Arneson's Anti-War works, as well as Kathryn Olmsted's contribution to the catalog on the series. The post provides an overview of Olmsted's essay for the catalog and her previous work, as well as details on Arneson's career in context to Bay Area politics and his thirty-year tenure as professor at UC Davis. Nikos-Rose writes "Arneson, true to form, took his political feelings and activism to his clay, paint and paper, creating what is often painful, crushing commentary on the 1980s arms race."
Enrique Chagoya is the subject of several recent essays by Ruben Cordova for Glasstire. This three-part series of long form essays discusses heroes, villains, and all things satire in Enrique Chagoya's work and practice. Cordova references specific works as well as recent conversations with the artist, analyzing Chagoya's work in a critical and art-historical context.
Luis Cruz Azaceta is included in 10: Artist as Catalyst at the Samek Art Museum at Bucknell University. This exhibition revisits a 1992 portfolio of prints made by a group of 10 artists to benefit the Alternative Museum in New York which was targeted in the '80s "culture wars" for its dedication to mounting exhibitions of social and political relevance. The portfolio includes Azaceta's Lotto: The American Dream alongside works by Ida Applebroog, Leon Golub, Luis Jimenez, Jerry Kearns, Komar and Melamid, Adrian Piper, Ben Sakoguchi, Andres Serrano, and Lorna Simpson.
Robert Arneson and WIlliam T. Wiley are included included in Slant Step Forward at the Verge Center for the Arts. The exhibition centers itself around the "slant step," an infamous slanted stool originally procured by Wiley back in 1965. Over five decades the slant step was passed around between artists from Northern California such as Bruce Nauman and Richard Serra, and went on to inspire countless works of art and literature, including an artists' book published in 1969 by Phil Weidman.
Enrique Chagoya is included in a group exhibition at the Pennsylvania Academy of the Fine Arts. Ancient History of the Distant Future juxtaposes PAFA’s storied permanent collection with thirteen contemporary artists whose work engages with or reacts to art history in some capacity. In a suite of eight etchings titled “Return to Goya’s Caprichos," Chagoya revisits Goya’s series of Caprices from the late 1700s, using its critical perspective on 18th century Spainish society as a jumping off point to analyze today's history in a similar vein.
Enrique Chagoya, Amer Kobaslija, and Andrew Lenaghan have works included in a group exhibition at the Oakland University Art Gallery. Your Very Own Paradise offers a conduit to inspire the viewer to repose in a visual culture that is less pessimistic and more open to the abundance of a positive and inclusive world view. Including over a dozen artists, this exhibition serves as a visual break from the tumultousness of our times.
Tony May is included in a three person exhibition titled Secret Language at b. sakata garo gallery in Sacramento, CA alongside Lonny Tomono and Chris Daubert. The exhibition presents three artist friends who have long lived far apart but have influenced, inspired or amused one another's work since their first meeting in San Jose, CA circa 1974.
The Pennsylvania Academy of the Fine Arts has recently acquired Joan Brown's Self Portrait from 1977. Self-portraiture was a major part of Brown's practice, this one being of particular significance. Brown directly challenges stereotypes that women artists often face, depicting herself seated in her studio wear white gloves, a billowy dress and heels painting a still-life when in actuality she wore sensible clothes often splattered in paint.
The Ogden Museum of Southern Art first launched Louisiana Contemporary, Presented by The Helis Foundation, in 2012, to establish a vehicle that would bring to the fore the work of artists living in Louisiana and highlight the dynamism of art practice throughout the state. The 2019 edition, which opened to the public on August 3, includes 23 artists and 44 works of art, spanning painting, photography, sculpture, works on paper and mixed-media installation.
Enrique Chagoya will be giving a lecture at the San Antonio Museum of Art early next month. The talk will focus on Chagoya's use of appropriation of Western art from the perspective of a non Western artist (including topics of immigration, colonialism, and contemporary issues) appropriating from comic books to modernist art, etc.
Tony May is included in a three-person exhibition at 871 Fine Arts, alongside Léonie Guyer and Dan Max. This exhibition juxtaposes the work of long-time Bay Area artists. May's work in the exhibition comprises a selection of paintings, sculpture and constructions dating 1980-2019. The exhibition is on view through September 6.
Luis Cruz Azaceta is named in a complimentary long form review of Art after Stonewall: 1969-89 in the New York Times. Holland Cotter notes "...though we’re in the era of AIDS, the sense of urgency that absolutely defined that time is missing. This is not to say there’s a shortage of good work." He goes on to say that "The show would be valuable if it did nothing more than showcase artists like Laura Aguilar, Luis Cruz Azaceta, Jerome Caja, Lenore Chinn, Maxine Fine, Luis Frangella and Marc Lida..."
A long-form article on Amer Kobaslija's current exhibition Florida Diaries is featured in Oslobodjenje, one of the most iconic publications based in Sarajevo, Bosnia. Irfan Hosic writes "the "Florida Diaries" series is an integral part of [Kobaslija]'s psychological tissue, in which the experience of violent relocation and alienation, as well as voluntary acceptance and rapprochement, is permanently recorded."
Enrique Chagoya is featured in What is an edition, anyway? at the McEvoy Foundation for the Arts. This exhibition explores the traditions, conditions, assumptions, and inventive expressions of the contemporary artists’ multiple, featuring works from the McEvoy Family Collection and the collection of Thomas Cvikota, alongside projects by Chagoya, Daniel Clowes, Ala Ebtekar, Jonn Herschend, Stephanie Syjuco, and Hank Willis Thomas.
Enrique Chagoya was recently in conversation with Nick Naughton for The Print Cast, a podcast focusing on artists, designers, and printers in regards to the work they do and how it intersects with the trade and the craft of printmaking. Chagoya and Naughton discuss Chagoya's art, how satire can provoke an array of responses, and what it's like working with Master Printers. This episode is Part 1 of this interview.
Our booth of monumental paintings by Joan Brown at Frieze New York is featured in artnet News. 8 Booths You Won’t Want to Miss at Frieze New York 2019 highlights eight booths as a "must-see." On Joan Brown, the article states "Throughout her career, California artist Joan Brown devoured art history, absorbing influences from ancient cultures to the Old Masters. The culmination of these studies were her 1983 series of Homage paintings, four of which are on view for the first time together here. Each of these monumentally scaled works (each measuring 6 feet x 10 feet) is dedicated to the symbolism and visual language of a culture that inspired Brown."
Enrique Chagoya will be a panelist in an upcoming talk at San Francisco Museum of Modern Art titled The Art of Appropriation and Intellectual Property. Chagoya and other panelists Sonia Katyal and Sriba Kwadjovie, moderator, will discuss how appropriation manifests itself in visual art, shifting our understanding of creativity and the meaning of ownership.
Our exhibition of new paintings by Amer Kobaslija is reviewed in Hyperallergic. "With a documentarian’s eye," Edward Gómez writes, "a stylist’s deft handling of his materials, and a local’s appreciation for his subjects, Kobaslija again demonstrates that his art may be seen simultaneously as landscape painting, portraiture, and a form of contemporary history painting."
Luis Cruz Azaceta will be featured in the upcoming exhibition Art after Stonewall, 1969-1989, at New York University's Grey Art Gallery and Leslie-Lohman Museum of Gay and Lesbian Art. Azaceta's AIDS Patient 1989 is included among over 200 works of art and related visual materials exploring the impact of the Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) liberation movement on visual culture.
The Orlando Museum of Art has recently announced that Amer Kobaslija is one of ten artists artists for the 2019 Florida Prize in Contemporary Art. Organized and curated by the Orlando Museum of Art (OMA), the Florida Prize exhibition brings new recognition to the state’s most compelling and progressive artists. Artists range from emerging to mid-career, and each is engaged in exploring significant issues of contemporary art and society in original and visually exciting ways.
Currently on view at the di Rosa Center for Contemporary Art is Building a Different Model: Selections from the di Rosa Collection curated by Dan Nadel. The exhibition features works by 40 artists including Robert Arneson, Joan Brown, Robert Hudson, Peter Saul, William T. Wiley, among others, that address the world by offering generative visions of transformation and repair through social, physical, and ceremonial relationships.
Chris Ballantyne was interviewed by critic Cody Delistraty for Modern Painters Magazine on his solo exhibition Temporal: Recent Paintings and Watercolors. Delistraty writes "Ballantyne’s unpopulated landscape paintings maintain the vestiges of humanity in their architecture and buildings, but they ultimately question where this development is taking us, and how we’ve come to relate to nature."
Elmer Bischoff's 1967 painting Girl With Arms Raised is included in artnet News' "6 Dazzling Works at the ADAA’s Art Show." The article features six highlights from this year's show. Eileen Kinsella writes that the painting "immediately evokes Picasso’s moody harlequin paintings."
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 is included in 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 group 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.