We hope that you, your families and loved ones are safe and well during this very challenging time. Our gallery family – artists and staff – are all adjusting to new and creative ways of living and working. Until we can re-open our physical space to the public, we will regularly present works through our website and
new Virtual Viewing Room
. We also invite you to follow us on Instagram
@alexandregallery
where we are now posting updates on each of our artists. In the meantime, we are all working remotely and can be reached by email at
inquiries@alexandregallery.com
.
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Pat Adams,
Works from the 1970s and 80s
installation view.
Our first exhibition of Pat Adams (American, b. 1928) paintings and works on paper from the 1970s and 80s was scheduled to open a few weeks ago and will be re-presented next season. The show was to include twenty-two works and mark the first major New York showing of Adams’s work since 2008 and the close of her longtime gallery Zabriskie. To view the show, please follow the link to our
Virtual Viewing Room.
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Out Come Out
, 1980, oil, isobutyl methacrylate, pastel, mica, sand and eggshell on linen.
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Since the mid-fifties, Adams has explored a core vocabulary of abstract geometric forms that have been embedded in undefined fields of glistening colors. Her imagery often includes circles, curves, lines, arabesques, squares, and variations of spherical shapes. She often enhances the material quality of her paintings by mixing sand, mica, eggshells and other natural materials into her pigments, creating both deep and shallow spaces; mysterious transparency and physicality. Adams has developed her own language and system of poetics that has been revealed in her titles and writings to describe qualities in her work: “quiddity or whatness, richesse, the once again begin again, towardness, involuntary affect, slowing, apparency, delayed closure, autogenous bursts, and the ‘not-as-yet.’”
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Willingness
, 1977, acrylic, mother of pearl, pastel and ink on paper, 16 ½ x 15 inches.
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One of the most startling things about Ms. Adams’s works is that their flat surfaces, as active, various and sometimes seemingly chaotic as they are, still maintain clockwork precision and clarity. It’s as if we were seeing the stages of growth or the steps of transformation, each accompanied by its gaseous residue or shed skin.
—Lance Esplund, 2007
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Our Time
, 1979, mixed media on paper, 21 1/4 x 29 inches.
Unparalleled concentration is one of the crucial components of Adams’s work. The overlapping transparent and semi-transparent layers, the multitude of abstract vocabularies engaging with each other in various ways, become an invitation to immerse oneself in the many different pleasures and possibilities that her paintings bring together. On every scale that she has worked, Adams invites a slow contemplative engagement, which runs counter to the quick visual consumption of signature image or motif, which has become a commonplace experience in today’s art world.
—John Yau, 2020
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How it Starts
, 1974, gouache on paper, 17 x 19 3/4 inches.
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Pat Adams,
Works from the 1970s and 80s
installation view.
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The gallery continues to actively deal in the paintings of first-generation American Modernists and the Stieglitz Group. Please contact the gallery at
inquiries@alexandregallery.com
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Marsden Hartley,
New Mexico Recollection, No. 3
, c. 1923, oil on canvas, 31 ½ x 41 ¼ inches.
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Alexandre Gallery | 212-755-2828 | www.alexandregallery.com
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