Rosemarie Castoro: On Paper
27 September - 10 November 2017
Rosemarie Castoro: On Paper
27 September - 10 November 2017
Rosemarie Castoro: On Paper
27 September - 10 November 2017
Lucio Pozzi
Relocations 1976 - 2017
21 November 2017 - 23 February 2018
Lucio Pozzi
Relocations 1976 - 2017
21 November 2017 - 23 February 2018
Richard Basil Mock
Desert Visions
21 November 2017 - 23 February 2018
David Knoebel
8 January - 27 January 1977
David Knoebel
8 January - 27 January 1977
David Knoebel
8 January - 27 January 1977
Richard Basil Mock
Desert Visions
21 November 2017 - 23 February 2018
Richard Basil Mock
Desert Visions
21 November 2017 - 23 February 2018
Richard Basil Mock
Desert Visions
21 November 2017 - 23 February 2018
New London in New York
2 December - 17 January 1975
New London in New York
2 December - 17 January 1975
Rosemarie Castoro,
Focus at Infinity
09 November 2017 - 15 April 2018
Rosemarie Castoro,
Focus at Infinity
09 November 2017 - 15 April 2018
Rosemarie Castoro,
Focus at Infinity
09 November 2017 - 15 April 2018
Alice Adams
10 January - 3 February 1979
Alice Adams
10 January - 3 February 1979
Alice Adams
10 January - 3 February 1979
Works on Paper
11 December 1976 - 7 January 1977
RECENT EXHIBITIONS
Lorenza Sanni
Lorenza Sanni
Lorenza Sanni
Lorenza Sanni
Lorenza Sanni
Lorenza Sanni
Joey Tepedino
Alice Adams, Three Arches, 1979, and Hal Bromm in the doorway of his 14th floor office, photo credit Dee Gordon
Alice Adams, 24 Pieces, c 1985, Cypress, 10 ¼” x 10 ¼” x 7 ½”
Alice Adams, Three Arches, 1979, and Hal Bromm in the doorway of his 14th floor office, photo credit Dee Gordon
Alice Adams (born November 16, 1930) is an American artist known for her sculpture and site-specific land art in the 1970s and for her major public art projects in transit systems, airports, university campuses and other urban sites throughout the United States since 1986. Her earlier work in tapestry and woven forms was important in the American fiber art movement. Adams' sculptures after 1968 explored the architectural elements of the wall, the corner, the column and the vault. Continuing the use of flexible materials, she painted layers of latex on the old plaster walls of her studio, stripped them off, and then mounted the casts on two-by-four frameworks leaning against the wall. She saw her practice as a way of drawing people into spaces that are initially familiar but that later appear new. She used familiar building materials like wood lath, covering or partially covering frameworks to create free-standing partitions, columns and vaults.