Winold Reiss eludes classification at Hirschl & Adler Galleries exhibition in New York.
Even during his lifetime, and at the height of his career, the extraordinarily successful GermanAmerican artist Winold Reiss (1886–1953) defied categorization. Was he a fine artist or a designer, illustrator or architect, printmaker or muralist? Steeped in the German arts-and-crafts tradition with its permeable boundaries between fine and applied arts, Reiss bucked the hierarchical world of American art by practicing a broad array of artistic disciplines with an excellence and panache that few could rival.
Congratulations to John Moore on the opening of his solo exhibition, Resonance, at the Center for Maine Contemporary Art! This survey exhibition is John's first in solo exhibition in a Maine museum and his first at CMCA (then Maine Coast Artists) since the group exhibition, Looking at the Land, in 1993. The exhibition is accompanied by an illustrated catalog with an essay by Christopher B. Crosman, former director, Farnsworth Art Museum and founding curator, Crystal Bridges Museum of American Art, and a poem by critic and poet Vincent Katz.
Hirschl & Adler Modern is proud to announce their representation of the Estate of Honoré Sharrer (1920-2009) and the Estate of Louisa Chase (1951-2016). We are thrilled and honored to work with such dynamic and important material. Our upcoming group exhibition, Bread & Salt, will feature their work prominently. To learn more about Honoré Sharrer (1920-2009) and Louisa Chase (1951-2016), please visit our new gallery space in the Fuller Building at 41 East 57th Street in New York City or click on the Estates tab listed in the header on our website.
Hirschl & Adler has moved to a luxurious new gallery space in The Fuller Building at 41 East 57th Street, on the corner of Madison Avenue.
It is an especially fitting new home. Opened in September 1929, the landmark Art Deco skyscraper was the headquarters of the George A. Fuller Construction Company, which had decided to move from its former home in the Flatiron Building as the center of New York City commerce marched uptown. Fuller commissioned the architectural firm of Walker & Gillette for the design, and lead architect Stewart A. Walker in turn hired Elie Nadelman to produce the bas-relief sculpture over its grand 3-story-high 57th Street entrance.
Hirschl & Adler is located on the 9th floor.
Congratulations to John Moore and Stone Roberts on their participation in The American Dream at the Drents Museum in Assen, The Netherlands! the Drents Museum (The Netherlands) and the Kunsthalle Emden (Germany) have joined forces to mount the international double exhibition The American Dream. This spectacular survey of American Realism from 1945 to the present is on view simultaneously in both institutions.
Jane Peterson's unique brand of Post-Impressionism is the subject of a new retropective at the Mattatuck Museum in Waterbury, CT. Jane Peterson: At Home and Abroad opened on November 19 with over 80 works in oil, gouache, and watercolor. From 1908 until 1925, the peripatetic Peterson traveled extensively in search of subject matter. The show includes "colorful and festive" works from her travels through Europe, North Africa, and the Middle East, as well as from closer-to-home Gloucester, Palm Beach, and New York City. The Mattatuck Museum show runs through January 28, 2018 before traveling to The Long Island Museum, Stony Brook, NY; Columbia Museum of Art, Columbia, SC; The Hyde Collection, Glens Falls, NY; and The Hunter Museum of American Art, Chattanooga, TN through the rest of next year.
Hirschl & Adler Galleries has lent several important works of art by Winold Reiss (1886–1953) to the Munson Williams Proctor Arts Institute's summer exhibition, Roaring Into the Future: New York, 1925–35, focusing on how the Empire State modernized America. If you are in the Utica area, please visit.
Organized in collaboration with the Museum of Fine Arts, Houston, HOME—So Different, So Appealing at the Los Angeles County Museum of Art features U.S. Latino and Latin American artists from the late 1950s to the present who have used the deceptively simple idea of "home" as a powerful lens through which to view the profound socioeconomic and political transformations in the hemisphere. Spanning seven decades and covering art styles from Pop Art and Conceptualism to “anarchitecture” and “autoconstrucción,” the artists featured in this show explore one of the most basic social concepts by which individuals, families, nations, and regions understand themselves in relation to others. In the process, their work also offers an alternative narrative of postwar and contemporary art.
June 11, 2017–October 15, 2017
Relational Undercurrents: Contemporary Art of the Caribbean Archipelago at the Museum of Latin American Art, curated by Dr. Tatiana Flores, offers a reading of twenty-first century artistic production of the Caribbean that employs the archipelago as an analytical framework. The exhibition focuses, first and foremost, on locating thematic continuities in the art of the Caribbean islands. Through the trope of the archipelago, Relational Undercurrents challenges the understanding of the Caribbean as discontinuous, isolated, hermetic, and beyond comprehension. The exhibition is divided into four thematic sections; Conceptual Mappings, Perpetual Horizons, Landscape Ecologies and Representational Acts and features work by artists who have informed and shaped those themes. The exhibition includes painting, installation art, sculpture, photography, video, and performance.
September 16, 2017–January 28, 2018