We are so pleased to have Louisa Chase represented in this exhibition at the Parrish Art Museum! Affinities for Abstraction: Women Artists on Eastern Long Island, 1950-2020, celebrates the work of 42 artists who over the last 70 years have lived and worked in the Hamptons. Thank you to the Parrish Art Museum and to the organizer of the exhibition, the Museum’s Lewis B. and Dorothy Cullman Chief Curator Alicia G. Longwell, Ph.D., for including Louisa in the show. To learn more, please use the link below.
Congratulations to Colin Hunt on his solo exhibition being named an "Editor's Pick" on Artnet News! Hunt's show, So Much Remains to Be, remains on view through April 23rd.
We are thrilled to share this interview between Angela Fraleigh and Sarah Cascone of Artnet News! The two discuss Angela's process and daily routine in the studio, as well as her upcoming solo exhibition at the Weatherspoon Art Museum. Please use the link below to read the full interview.
Like a lot of artists, I probably most admire all the stuff I want to steal for my own work. I guess the “how’d they do that” quality of a thing, coupled with a depth and breadth of human experience and juicy poetic stuff to chew on. In painting, I like the topography of a surface, something that optically resonates.
Thank you to Brienne Walsh and Forbes for their coverage of Angela Fraleigh's debut solo show with H&A Modern!
At first glance, the paintings in “Fluttering still,” an exhibition of new works by Angela Fraleigh currently open at Hirsch & Adler Modern through March 12, look decidedly rooted in the past. Women, some of them nude, some of them clothed in flowing garments, lie in repose within the canvasses. The figures have flushed skin, and long, impossibly soft hair rendered in skilled, confident brushstrokes...Further examination reveal the paintings exist very much in the 21st century—and perhaps may even be prophetic.
Thank you to Kate Brown for listing the Frank Walter retrospective at MMK Museum of Modern Art (Frankfurt, Germany) in Artnet News' list of 10 acclaimed, but missed, exhibitions! This landmark show was certainly a highlight for both the Walter family and H&A in 2020. Please use the link below to read all of Kate's comments on the show and to see the entire list of exhibitions.
I sadly missed a major retrospective on Frank Walter at MMK in Frankfurt am Main—a fascinating subject in any year, but a show that felt even more urgent during this summer of resurgent Black Lives Matter protests....
Thank you to Ann Landi and Introspective Magazine for including Angela Fraleigh in their round-up! The gallery is excited for Angela's debut solo exhibition, opening in February 2021!
Many of Angela Fraleigh’s haunting and carefully staged tableaux feature women drawn from the annals of Baroque and Rococo “boudoir paintings”—titillating scenes meant to fan the ardor of the viewer. But she puts a contemporary twist on this iconography by giving her characters more agency than was typical of earlier eras.
Congratulations to Andy Mister on the opening of Twenty Twenty at The Aldrich Contemporary Art Museum! This group exhibition, organized by the museum's Exhibitions Director Richard Klein, brings together seven artists who were commissioned by the museum to create works on paper which specificaly address the election season of 2020. The artists will add new work to the exhibition in early December and early February in an effort to present a full response to the election cycle. The exhibition closes March 14, 2021.
While H&A is open and welcoming visitors, we understand that there are those of you who are unable to visit the gallery. As a result, we are happy to share this virtual tour of our current exhibition. Produced by Jonah Koplin, this short video allows those of you who cannot travel to the gallery a chance to enjoy Elizabeth Turk's latest body of work. We hope to see you again at the gallery soon!
Hirschl & Adler Modern is proud to present an exciting new project, Tipping Point—Echoes of Extinction, the latest body of work by the internationally-recognized sculptor Elizabeth Turk. While furthering her exploration into the overlap of art and nature, Turk confronts a globally important issue: Extinction. Tipping Point employs sculpture, sound, and technology to ask: what role can humans play in the preservation of a species, including our own? Are we at a tipping point? Turk highlights this relevant environmental concern with her Sound Columns—elegant visualizations of the lost voices of birds and sea mammals. These 27 sculptures, fabricated in wood, aluminum, 3-D printed ABS filament, and bronze, take their form directly from the calls of various animals that are, today, extinct or endangered.
The 16-page catalogue includes a checklist with links to the bird calls and aquatic mammal sounds, many archived at the Macaulay Library of the Cornell Lab of Ornithology.
Click here to learn more about the exhibition.
In the words of Motown R&B singers Marvin Gaye and Tammi Terrell, we know there “Ain’t Nothing Like the Real Thing,” but for the moment Hirschl & Adler is pleased to bring you the joy of beautiful objects at a distance. Our current exhibition, named after the 1968 hit song by Ashford & Simpson, features a wide variety of American paintings and Neo-Classical furniture along with a selection of modern and contemporary works.
Leaf through the pages of this e-catalogue to explore an exhibition curated to offer an irresistible selection of works at a gentle price point. As the song goes on to say, “I’m well aware nothing takes / The place of your being there,” but for now, “let’s stay together” online.
Congratulations to the Walter family and all of those associated with the Estate of Frank Walter on the opening of this massive exhibition! Special thanks for Barbara Paca for her tireless efforts on behalf of Frank Walter, and to Susanne Pfeffer for organizing such an important survey of the artist's work.
Walter’s creativity had an unbelievable intensity, which one can see, feel, and sense in his work. It was only in art that he felt liberated: free of the brutality that lay in normative attributions, which was a permanent presence beyond his artistic work. Frank Walter believed that creating art was an inherently subversive act, and one that uniquely enabled him to assert the right to lead his own life, as determined and defined by himself.
The work of the native Antiguan and Barbudan artist Frank Walter (1926–2009) encompasses numerous paintings, drawings, sculptures and writings, that will here be on view in a museum for the first time.
One of the most prolific and creative exponents of American Impressionism, Childe Hassam (1859–1935) applied his distinctive vision to a range of themes over a long and varied career. Hassam’s aesthetic versatility was also manifested through his choice of media, which ranged from oil and watercolor to pastel, etching, and lithography. In 1976, Stuart Feld of Hirschl & Adler Galleries chose to devote his attention to Hassam and compile a complete directory of the artist’s known works in oil, watercolor, pastel, ink, and graphite. As the daunting project ramped up, Kathleen Burnside joined the project in 1979 and leads the critical cataloguing side of the project.
Fast-forward to 2020 and weeks of mandated at-home quarantine. The global COVID-19 pandemic has had unintended consequences for Feld and Burnside: ample time to enter data, and plenty of hours in the day in which to write. According to Burnside, “Self-quarantine has been a boon for data entry!” The team has uncovered a wealth of new information, much of which has never been published, and certainly never so thoroughly organized and accessible.
Self-taught art (also known as “Outsider art”) rejects convention. In that spirit, we have taken a different approach in this e-catalogue, which is presented as a dialogue instead of a list of works with short essays. Frequently asked questions about this often perplexing field are answered by Hirschl & Adler's own Tom Parker, a well-respected authority and lecturer on the subject.
Our hope is that this format will provide an easy-to-understand introduction to an area of the art market that is often confusing and difficult to approach. Better yet, we hope that it might introduce some to an exciting field that is still in the process of gestation and discovery. History is being made, right now, by the legacy of these works, and the collectors, curators, and scholars that are moved by their visionary and emotional content.
...they are elegant and dignified, as are all of Fraleigh’s women, who congregate in secret pockets where societal limitations of female identity are eluded. One of the women holds out a thread, a simple act which reveals their power: these are the Fates, the women who determine the past and future for gods and mortals alike, a reminder of what is possible.
Congratulations to David Ligare on his inclusion in the group exhibition, Mortality: A Survey of Contemporary Death Art, curated by Donald Kuspit, at the American University Museum at the Katzen Arts Center! Originally scheduled to be on view April 4 to May 24, 2020, the exhibition had to be canceled due to the ongoing COVID-19 pandemic. Despite the loss of the physical venue, the exhibition catalogue has been made available to the public. Please use the link below to learn more about the exhibition as well as view the entire, full-color catalogue, with its accompanying essay by Mr. Kuspit.
Hirschl & Adler has been a champion of women artists of the highest caliber for decades. The major criterion for inclusion at the gallery has always been a very simple one: a work of art needs to be aesthetically superlative in both nature and quality. As long as a work of art meets this goal, the artist’s race or gender has never precluded us from handling it. While an artist’s origin certainly informs our appreciation of their work, it should never be something that works against them. Ultimately, in our mind, a work of art stands by itself.
As we celebrate Womens History Month, we are very pleased that many others are joining us in celebrating these extraordinary artists who for centuries have been battling unfair societal leanings. We hope that this e-catalogue of selected works by our best female painters and sculptors, spanning the 19th to the 21st centuries, stands as indisputable evidence of their prodigious merits and abilities.
In response to the recent escalation of the COVID-19 pandemic, and in a proactive effort to protect the health and well-being of our staff, our clients, and our community, Hirschl & Adler Galleries will be closed to the public on Monday, March 16, and until further notice. H&A will closely monitor the situation as it evolves and heed the advice of governmental and healthcare authorities. We will update everyone in this forum and on our social media platforms when we determine that it is safe to reopen to the public.
We hope that you and your loved ones remain safe and healthy while the nation weathers this unprecedented public health crisis, and that we can all resume our daily lives as soon as possible. We look forward to reconnecting with you on the 9th Floor of the Fuller Building in the very near future.
Exhibition Extended until Sept. 6!
The exhibition celebrates the life and career of the contemporary painter and printmaker who emerged out of New York’s male-dominated art scene in the 1970s as a strong female presence in the Neo-Expressionist movement of the 1980s.
Congratulations to Lily Cox-Richard for her inclusion on Artnet's "Which Emerging Artist Dominated 2019?" List
I became aware of Lily Cox-Richard’s sculpture in 2016, when she had solo shows at Artpace in San Antonio and She Works Flexible in Houston; I appreciated her work’s wit and attention to detail, but above all, its rigorous engagement with the histories of sculpture and materials. Her new work for the Blanton’s Contemporary Project responds to the museum’s collection of plaster casts of classical sculpture, using 3D scanning and an ancient faux-marble technique to prompt critical thinking about whiteness. As artists and curators continue to interrogate the canon, Lily’s incisive material investigations, which will be the subject of a MASS MoCA show in 2021, will continue to resonate.
—Claire Howard, Assistant Curator, Blanton Museum of Art
Congratulations to Lily Cox-Richard on the review of her current solo exhibition at the Blanton Museum of Art, Lily Cox-Richard: She-Wolf + Lower Figs.! Andy Campbell reviews the show, which closes December 29th, in the December issue of Artforum. Look for it on newstands or online!
The Louise and Bernard Palitz Gallery at Syracuse University Lubin House presents Kamikaze Curiosity: Louisa Chase Prints, on view beginning October 21. Curated by Andrew Saluti, assistant professor/ program coordinator in the Graduate Program in Museum Studies at Syracuse University, this exhibition celebrates the recent gift of 58 prints and two portfolios donated to the university by the Louisa Chase Estate.
Congratulations to María Elena González on the opening of "Tree Talk Series" at the Brattleboro Museum and Art Center! After its successful run at the Mills College Art Museum, H&A Modern is thrilled to see this important project travel to Brattleboro.
Congratulations to Lily Cox-Richard on the opening of her solo exhibition, She-Wolf + Lower Figs., at the Blanton Museum of Art!
Cox-Richard presents new work that responds to the history and materiality of the Blanton’s William J. Battle Collection of Plaster Casts, a set of nineteenth-century replicas of ancient Greek and Roman sculptures and one of the few remaining collections of this kind in the United States. Such casts were once an integral part of artistic training throughout the Western world and were believed to embody aesthetic and cultural standards of taste, beauty, democracy, and learnedness. Cox-Richard’s sculptural installation invites us to consider the legacy of these objects, raising questions about their role in perpetuating notions of physical “perfection” and “whiteness” as ideal.
Thank you to Claire Howard, Assistant Curator of Modern and Contemporary Art, Blanton Museum of Art, for organizing this exhibition.
Congratulations to Robert Minervini on the completion of his massive mosiac mural!
The public art piece “Hyper-Natural Bay Area” by Robert Minervini opened along with Harvey Milk Terminal 1 at San Francisco International Airport. The project took two years, cost $370,000, and is composed of hundreds of thousands of tiles, each set by hand...The mosaic is one of five permanent pieces paid for by the San Francisco Arts Commission to honor the 50th anniversary of the city’s “percent for art” program, which necessitates that either 1% or 2% of the total construction cost of any project be designated for public art.
Thank you to everyone who joined us for our panel discussion from May 7, 2019, celebrating the exhibition "Honoré Sharrer: Claws Sheathed in Velvet." The panel featured New York-based artist Natalie Frank, ArtTable Executive Director Jessica Porter, and St. Louis Art Museum curator of American art Melissa Wolfe. The discussion was moderated by New York artist and educator Sharon Louden.
To view the discussion, please use the link below:
Organized in cooperation with the Estate of Louisa Chase and H&A Modern, the Parrish Art Museum and Andrew Saluti of Syracuse University, this survey features 18 paintings and works on paper dating from 1972–2011. The exibition is on view from November 11, 2018 until October 3, 2019.
In paintings that resonate with post-industrial America, Moore rearranges the world.
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 and Louisa Chase, 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 in the header on this 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