New York & Palm Beach: 2022-2023 by adelsongalleries

NEW YORK & PALM BEACH 2022 – 2023

Front & back covers: Federico Uribe, Elephant , 2021, Bullet shells, 87 x 117 x 36 inches

Federico Uribe Elephant , 2021 Bullet shells 87 x 117 x 36 inches Also shown on front & back covers

ADELSON GALLERIES is pleased to present a survey of our Contemporary Artists, including recent and upcoming exhibitions for 2022-2023. The gallery continues to carry and offer 19th and 20th century masters; however, the intention of this brochure is to highlight our Contemporary program. We represent a variety of artists from around the world, selected for their aesthetic, technical, and academic merit. In the following pages, you will find a sample of recent works by each artist along with a statement in their own words that reveals insight into their respective creations. The New York and Palm Beach galleries will be presenting exhibitions of new works by these artists in the coming years. We hope you enjoy this catalog, and we look forward to seeing you in our galleries. – The Adelson Family

SELECTED UPCOMING EXHIBITIONS:

NEW YORK

– Warren Adelson, President, Adelson Galleries

his wife and son in a sprawling pre-war apartment, where he maintained a light-filled room for his studio. He was a tall fellow and rather quiet as we walked from living room to dining room and through hallways, which were hung with his oil paintings, large and small. I saw figurative subjects of single or multiple figures, mostly in indoor settings, and all as quiet as my host. I walked around looking closely, initially not knowing what to make of them. At first I could not relate these peculiar, flat, slightly foreign figures with any other artist I knew. They felt from another time and place, despite the contemporary dress and settings: restaurants, bars, theaters, et al. After a while I realized that my silence was rattling Andrew, which was not my intention. I really liked the pictures, I just couldn’t figure them out. Despite that puzzlement, I said, “What can I do for you? Let’s work together.”

We are pleased to present a selection of his recent pictures at our New York gallery this fall, and to celebrate the 40th anniversary of our first show with Andrew Stevovich. It has been four decades of friendship with Andrew and his family accompanied by an ever-growing love and appreciation of his work.

In 1982, I got a call from a great friend and client, Dr. Bernard Cohen. I had met Bernie when I first went into business in Boston in 1965, and we remained friends after my move to New York in 1972. Bernie loved collecting art, and had a good eye. He was calling to recommend that I have a look at a young painter in Brookline, saying how much he admired the work. It was an easy trip to Coolidge Corner to visit the artist; my mother lived nearby and I had grown up in that Andrewneighborhood.livedwith

8 | Upcoming ANDREWExhibitionsSTEVOVICH: ANOTHER TIME AND PLACE September 15 – October 31, 2022

We did our first show in 1982, and the response was encouraging. Beyond that successful exhibition, I began to understand the pictures and their link to early Renaissance art. Andrew’s works don’t look like anyone else because his vision is truly his own. In the past forty plus years, his unconventional subjects have been refined and polished, but the vision has not wavered. Andrew’s work can’t be seen quickly. It takes time to sort out the compositions, color harmonies, and the complex perspectives, not to mention contemplating the narratives of each painting. I love this about Andrew’s work.

Andrew Stevovich | 9 Left to right: Loretta Painting My Portrait , 2021-22 Oil on linen 12 x 10 inches Drawing Loretta , 2022 Oil on linen 20 x 20 inches

10 | Upcoming PATRICKExhibitionsHUGHES: A NEW PERSPECTIVE November 3, 2022 – January 7, 2023

If art can be a catalyst for improving our daily lives, it may do so by altering our perspective on reality in a way that makes us smile. Patrick Hughes accomplishes this with every person that encounters his work. Upon glancing at each painting, there is something familiar, whether it is a recognizable artwork, architecture, or landscape within the composition. Then suddenly, the passing observer of the work becomes an active participant, and their world is spun around as they move and see the room or objects spin with them. Our eyes seem to deceive the rational side of our minds. That moment of discovery inspires the accomplice to question basic laws of physics. Invariably, the inquisitive smile emerges as the artist’s formula for the optical effect comes into focus. Upon discovery of the artist’s technique, our participant will then test the limits of the illusion – walking back and forth, side to side, and inviting others to witness the visual effect. I have found that the excitement of my initial discovery of each of Hughes’ works does not fade over time. Each are like songs that I want to play back again, and each day it feels new. It’s hard to understand this phenomenon until you’ve lived with one in your home long enough. The board constructions do not fade into the background quite the same as other paintings on the wall. They are not like the passive paintings we forget about, then remember when we have company over. Whenever I walk by my Hughes, I’m confronted by it. Watching a bit of my wall spin at a different velocity than my body elicits a playful cognitive response that resets my train of thought. I’m brought back to being an adolescent, discovering an anomaly and finding joy in the world’s curiosities.

If Hughes’ works are like songs, then each one has its own melody. For that reason, I find Hughes’ gallery exhibitions notably different than seeing one by itself in a private home. In a gallery or museum exhibition, it is like a concert. Each piece requiring its own time and space for the viewer to absorb its full effect. If you allow your eyes to focus on two or three on one wall at the same time, it feels like being on a carnival ride, going around and around without really being able to focus on any one point. It is enjoyable and dizzying, and the passenger is acutely aware that they are at a show. In a more intimate setting, the works become part of the environment. The edges of the painting appear to be extensions of the surrounding walls. In many cases, the paintings become the central focus of the room, defining the bedroom or hotel lobby or office. At other times, it is a point of interest as you cross the threshold from one room to another. Wherever we encounter these three-dimensional works, we tune into the rhythm of the painting and tune out the reality of our other surroundings.

Adelson Galleries is delighted to exhibit a group of Patrick Hughes’ work at our New York gallery for the first time. This will also mark Hughes’ first solo exhibition in New York since 2017. The gallery has featured his paintings—one or two at a time—for the past three years, so it is exciting for us to have the opportunity to fill our gallery with a variety of these multi-faceted works. This exhibition exemplifies the artist’s array of subject matter, from Venetian scenes to complex interiors and still lifes. The show, primarily composed of new Reverspective paintings to be exhibited for the first time, will also include a handful of Hughes’ collaged paintings and multiples. We are proud to present Patrick Hughes: A New Perspective in New York this fall.

– Adam Adelson, Executive Director, Adelson Galleries

Patrick Hughes | 11 Clockwise: Caring Haring , 2021 Oil on board construction 21 3/4 x 50 x 7 inches Mirror Image , 2021 Oil on board construction 26 1/2 x 31 3/4 x 8 inches Monographs , 2021 Oil on board construction 25 3/4 x 33 1/2 x 8 inches

JACOBExhibitionsCOLLINS:

Adelson Galleries is pleased to exhibit a group of new oil paintings by Jacob Collins. In this series, Collins depicts artists at the easel at the Grand Central Atelier, an institution that he established to train artists in Classical traditions. Also featured in the exhibition will be a selection of recently painted still lifes, and a selfportrait, rendered in the artist’s particular mode of realism for which he is widely Thecelebrated.atelier paintings serve as a testament to the artist’s mastery in the representation of natural light, shadow, texture, nuances of color, and the subtle complexity of his draftsmanship. Intimate and voyeuristic in nature, the artist observes his students as they simultaneously observe nude models and arranged objects of still life. This series speaks to Collins’ dedication to reviving the tradition of the French academy, finding the rich exchange of ideas among like-minded peers to be a stimulating and fertile ground from which to augment his own practice.

Jacob Collins lives and works in New York. He has been the subject of numerous solo exhibitions worldwide and his work is held in significant public collections, such as the Fogg Art Museum, Cambridge, MA, and the Mead Art Museum, Amherst, MA, among others. We are thrilled to exhibit his work in our New York gallery for the first time in seven years.

THE ATELIER March 30 – April 30, 2023

12 | Upcoming

Self-Portrait

Clockwise: Pomegranate II , 2022 Oil on canvas on panel 10 x 16 inches the Studio , 2022 Oil on canvas on panel 10 x 8 inches , 2019 Oil on canvas 16 x 15 inches

Jacob Collins | 13

NEW REPRESENTATION:

JOHN THOMPSON

16 | New Representation

– John Thompson JOHN THOMPSON

Sometimes the most simple of occurrences – the stray stick fallen across a background of decaying ferns, or the pattern of leaves in a stream – can lead to a series of prints or paintings. In making work I begin with the simple act of observing, often with a sketch or small painting. In taking those fleeting images back to my studio, as recall fades, imagination takes over and the images begin to change. Simple patterns, such as rain on a pond, I see as both an overall pattern and infinite individual compositions of single raindrops disturbing the surface of the pond. Variations and constant change in the color, pattern, texture and light become opportunities for observing the fleeting beauty of the ordinary and the accidental, the common and the sacred. Building on these observations, my love for materials often jostles for position with the image. My tendency to build and layer, make larger and longer, can battle with the intent of making quieter and observed images. Making art has become a source of quiet refuge in these turbulent times. I am comforted by being able to draw on the landscape to replenish a sense of balance and control in life. My observation and invention on the borrowed landscape renews and replenishes.”

“The basis for my work is from the landscape where I choose specific moments and small elements for my focus. For this application I have selected work that began from observation of the landscape in nearby ponds. By becoming intimate with specific sites, the singular character of the setting informs my work.

Silkscreen and watercolor on canvas 43 1/2 x 31 1/2 inches Stott 2 , 2022

Silkscreen and watercolor on canvas 38 1/2 x 37 1/2 inches

A renowned painter and printmaker, John Thompson holds degrees from Syracuse University (BFA), University of Wisconsin-Madison (MA), Babson College (MFA) and the Massachusetts College of Art and Design (MFA). Thompson founded and maintains a studio and print shop in the Lincoln Arts Building in Waltham, MA, and a painting studio in Washington, CT. He teaches printmaking at Massachusetts College of Art and Design and leads an annual trip to China for MassArt students, the Danforth Museum, The Washington Art Association and other workshops in the region. He works with Master Printer Peter Pettingill at Wingate Studio in Hinsdale, NH. Thompson serves on several boards of art and educational institutions.

Left to right: Rowe 1 , 2022

John Thompson | 17

Silkscreen and watercolor on canvas 32 x 42 1/2 inches Orrs 2 , 2022

18 | New Representation

John Thompson | 19

Clockwise, left to right: Stowe XVIII , 2021 Monoprint woodcut on Chinese paper mountedonpanel 24 x 24 inches Stowe XII , 2021 Monoprint woodcut on Chinese paper mountedonpanel 24 x 24 inches Stowe XVII , 2021 Monoprint woodcut on Chinese paper mountedonpanel 24 x 24 inches Stowe XXI , 2021 Monoprint woodcut on Chinese paper mountedonpanel 24 x 24 inches Stowe XXIX , 2021 Monoprint woodcut on Chinese paper mountedonpanel 24 x 24 inches Stowe VII , 2021 Monoprint woodcut on Chinese paper mountedonpanel 24 x 24 inches

ARTIST SPOTLIGHT:

STEVEN SPAZUK

22 | Artist Spotlight “My art is based on a sustained exploration of new dimensions and applications of the technique of fumage , that is, painting with fire. The focus of my subjects, projects, and collections is the relationships between humans and the natural world. My work explores the current reality of the climate crisis and the Anthropocene through lenses that highlight the ambivalence of humanity. This duality of human nature is reflected in the medium of fire, and carbon as soot, both of which hold the power to nurture or destroy life.”

– Steven Spazuk

Steven Spazuk | 23

Future Euphony , 2022 Soot, gold leaf and watercolor on paper mounted on panel 28 x 20 inches Euphony of Urgency , 2022 Soot and watercolor on panel 12 x 9 inches Euphony of Love , 2022 Soot and mixed media on panel 36 x 36 inches

Clockwise: Euphony of Aspirations , 2022 Soot, watercolor and phosphorescent acrylic on panel 8 x 10 inches

Interview with Steven Spazuk

Singing birds embody such joy and freedom – they trigger a biophilic response in us. As a bird lover, I am acutely aware, through my own observations and scientific reports, that bird populations are dramatically declining, that their songs are quieting. North America has lost one quarter of its overall bird population since 1970. Some species, such as barn swallows, have been hit very hard, with a population decline of 95%...

24 | Artist Spotlight What inspired you to begin working with fire as your primary medium?

My work with fire was sparked by a dream I had in April 2001. In that dream, I was in a gallery admiring a black and white landscape. I knew that the painting had been created with fire and I somehow completely understood the technique. In the morning when I woke up, I remembered that dream and immediately started to experiment. It was a instant love affair! Two decades later, I am still inspired and fascinated by the unpredictability and possibilities offered by fire and soot as a medium. That dream changed my life and gave me a unique voice; the flame as my brush is now a part of me. Just like the control of fire changed the course of human evolution, my work with fire shaped my identity as an artist. I am now known as a “fire artist.” This unique medium is at the root of my voice as I address “burning” issues such as the climate action, biodiversity, and our kinship and responsibility to the more-than-human world, and the Earth.

How does the element of fire and soot relate to the meaning of your work?

For me, fire is so inspiring! It transforms, renews, warms, and illuminates, but can also bring pain, devastation, and death; thus, its symbolic meaning varies wildly, depending upon the context. I primarily use it to illustrate the fragility of life. Exploring this fragility is the very essence of my work as a fire artist. The soot deposit on paper is extremely fragile; it can easily be altered by any contact. Anything that brushes or touches the soot will leave its trace… a powerful and necessary metaphor in the era of the Anthropocene…

I live and work in the small town of Franklin, a rural area located on the south shore of Montreal, Quebec. My studio is surrounded by Nature, birds, and gardens. My wife nurtures our land and gardens based on biomimicry and permaculture principles. Every window of our house and of my studio offers a unique and ever-changing vista on the natural world. Our 22-acre land of diverse and protected habitats offers me peace and quiet… the perfect setting to meditate on the beauty, perfection, and rhythm of Nature. The intimacy and sense of place that I am developing as we care for the land and the life that thrives here is a deep emotional trigger and inspiration for my art.

What is the significance of birds and microphones in your new Euphony series?

Where do you live and does that inspire your subject matter?

The Euphony series is a reminder to make sure that birds return with their serenades, their trills, their scales, arpeggios, solos, and improvs. Their symphonies at dawn, their nostalgic ballads by night are gifts to learn from, to protect, and to cherish. So, in the Euphony series, I give them the microphone!

I want to amplify their speech, their voices, their message. Let the birds sing because hearing their voices is a pleasure that can guide us to action.

Another exciting and “never been done” project I am working on is Fumage on Photograms , a collaboration with Oliver Bernardi, a photographer who specializes in photograms shot in water.

Aside from my Kinship series for the 2023 NY show, I have three other exciting projects going on. One of them is a 10-minute animated film for the National Film Board of Canada . It is the first time that an animated film will be made using the fumage process. It is a great challenge that pushes me to further explore new dimensions and applications of my fumage technique. I will be creating over 5,000 drawings over the next 18 months!

As artists, we both harness the elements and paint with light in dramatically different, yet complementary ways. We create unique large pieces, combining our talents and techniques, stopping time, intercepting movement, freezing waves, and revealing the imprints of life… a powerful and compelling project that I can’t wait to share!

Steven Spazuk | 25

You are constantly experimenting with new media and subject matter. What projects have you been working on recently?

26 | Artist Spotlight

Steven Spazuk | 27

Finally, the Reverence Series , which I am working on with my life partner, Danielle Delhaes, continues to evolve. This unique collection of artworks – based on the traces left by living creatures and symbolizing the precariousness of animal and plant life on Earth – is now moving forward with a third venture. This new project will focus on exploring the role and impact of reverence in shifting our relationship with Nature. We are now in the research phase for a featurelength documentary. Tell us about your new Kinship series. The Kinship series is an embrace of the more-than-human world. It is a celebration of our connection with this beautiful Earth, of our relationships with plants, animals, mushrooms, rocks, rivers, mountains, forests, oceans… It is about togetherness, about our permeability to other living beings, about belonging and relationality. It situates humans as an integral part of the holistic ecosystem of our planet. The images I am creating are born of my practice to mindfully enter in respectful and reciprocal relationships with the beings that share our world. I see them as an antidote to the separateness we are experiencing on so many levels. It is my hope that my work will revitalize our sense of aliveness and regenerate a deep belonging to all our relations, our kin.• Adelson Galleries will be exhibiting Steven Spazuk’s work in our New York gallery for the first time in fall 2023, featuring Spazuk’s Kinship series.

OUR CONTEMPORARY ARTISTS

FRANÇOIS BEL

– François Bel

30 | Contemporary Artists “My creations focus on space and time. Each object is frozen in a movement. I am inspired by the laws of physics and The Big Bang theory. I call my creations little “Big Bangs” – they are like mini universes containing a wealth of information. My little “Big Bangs” are set in synthetic crystal, as though frozen in the explosion’s ultimate moment of grace, making us reflect on passing time, which is often frittered away. In a society where everything happens increasingly quickly and humankind controls a great many things, I want to crystallize every person’s dream by stopping time for an instant. My sculptures are a mixture of frustration and fascination, mirroring our civilization: anger and rebellion, imprisoned and confined in economic, cultural, social and political contexts. I define myself as a composer of decomposition. A figure of destruction. Destruction seems to be an inherent human skill.”

Cliché Nikon - Février 22 (Camera) , 2022 Camera parts in acrylic glass 19 3/4 x 7 3/4 x 4 inches

Van Gogh Tube, Red , 2021 Paint tube and painted, hand made clay bubbles in acrylic glass 13 3/4 x 4 x 4 inches

Left to right: Take a Break , 2022 iPhone parts in acrylic glass 13 3/4 x 4 3/4 x 4 inches

Trigonomètrie , 2021 Pocket watch parts in acrylic glass 11 3/4 x 13 3/4 x 4 inches

François Bel | 31

32 | Contemporary Artists

“My general feeling in terms of art making is the train got off the rails in the 1860s and 1870s, and my practical instinct is to go back to where it was, try to put it back, fix it up, and start going again. Our culture has inherited the idea that if artists are not avant-garde, they cannot have a significant role. That’s a fallacy we’ve inherited from an expired cultural-political paradigm. The rejection of beauty is so accepted. It’s high time that we as a culture attend to our beauty position.”–Jacob Collins COLLINS

JACOB

Clockwise: Bread and Butter , 2022 Oil on canvas on panel 12 x 16 inches Apples , 2022 Oil on canvas on panel 8 x 12 inches

Gannon, Cruz, Noelle, Camille , 2022 Oil on canvas 12 x 18 inches

Jacob Collins | 33

Clementine II , 2022 Oil on canvas on panel 8 x 10 inches

34 | Contemporary Artists “The original paintings in the American Regatta series are a confession of my complicity in playing over my ancestors’ bones from the Middle Passage while racing sailboats. The new paintings are a spinoff – simply a metaphor of our tangled political parties vying for the best position regardless of the chaos that is created.

While our world political systems measure the benefits of their positions, much the same way sailboats do in a regatta, winners are applauded while losers are left with the consequences of their loss.”

– Robert Freeman FREEMAN

ROBERT

American Regatta, No. 1 , 2022 Oil on canvas 100 x 52 inches

Freeman | 35

Left to right:

Robert

American Regatta, No. 2 , 2022 Oil on canvas 60 x 48 inches

American Regatta, No. 4 , 2022 Oil on canvas 34 x 24 inches

36 | Contemporary Artists

“The thing I’ve come to realize is I’m not really interested in libraries or mazes or arcades and, come to think of it, I’m not actually interested in perspective. My real interest in the end, what I find sublime, is the flux and flow of it all. The library and the perspective are just means of enabling the strange relationship between the spectator and the picture – that state of flux. I love the ineffable part of it, the motion and the movement – the reciprocal relation like there is between people having a conversation. That’s the interesting thing – the dialogue. I’m not ultimately interested in skyscrapers or picture galleries, they are just means – not necessarily to an end, but I would rather say to a beginning. The beautiful thing to observe is when people are looking at them and moving and, I suppose, thinking and wondering.”

– Patrick Hughes

PATRICK HUGHES

Patrick Hughes | 37 Clockwise: The Fourth Dimension , 2018 Oil on board construction 29 1/2 x 46 x 10 inches Cuboids , 2021 Oil on board construction 33 3/4 x 26 x 9 inches Window Shopping , 2021 Collage and oil on board construction 26 1/2 x 71 x 7 1/2 inches, Edition of 5 Venice Visit , 2020 Collage and oil on board construction 25 x 27 3/4 x 6 1/4 inches, Edition of 5

“If you have found any beauty or pleasure in wildflowers or these sculptures, I hope it will remind you to look at the wildflowers at your feet. They are Mother Nature’s jewelry. Each wildflower, no matter how humble, plays an important role in our environment. They provide our oxygen, food, and many of our medicines. My plea would be that we all be good stewards of our environment and strong conservation advocates.”–TrailerMcQuilkin

38 | Contemporary Artists

TRAILER MCQUILKIN

to right: Longleaf Lobelia & Inkberry , 2008 Oil and copper 24 x 13 x 16 1/2 inches Camass , 2015 Oil and copper 28 x 10 x 10 inches

Left

Trailer McQuilkin | 39

40 | Contemporary Artists “Dreams, like fantasies, are catalysts to my work. The choice of working with comics allows me to create a fantastical world where you could be the hero of your own adventure, an adventure that happens in places that are nonexistent, impossible, and fantastical. Like in a game, I enjoy choosing a page from a comic where there is a serpent or a villain; a serpent, that could be part of a nightmare, is not frightening anymore because it becomes symbolic. It allows me to imagine a world that is far from pain even if it’s just for a moment. It awakens the desire to live a perfect adventure where the idea of good surpasses the bad and the superhero is the archetypical image of the struggle of order over chaos. A lot of times I have had dreams or visions of works that I later develop. They are general outlines that take shape when they come into direct contact with the material. Like a dream that takes a life of its own, an image that is out of focus acquires sharpness and no longer belongs to the realm of dreams, but that’s where it originated. They’re internal images that vary in form and color, and they present themselves in different ways as I work.

MAGDALENA MURUA

Although I began using comics as a means of creating compositions filled with color, with time I discovered that each fragment of paper has its own expression: a weapon, text, a face, etc., or some kind of dialogue sequence that is created by the arbitrary combination of the cut paper. The comic is no longer a linear script telling a unique story, but now it interacts with each other’s stories. The idea of the comic somehow translates itself from the two-dimensional world to the subconscious of the observer. The work made up of thousands of small fragments is a way of surrendering yourself to uncertainty, passing through each instance without trying to control the outcome...”

– Magdalena Murua Detail

Magdalena Murua | 41 Left to right: Misión Cubo , 2021 Comic book pages 27 1/2 x 71 inches Yo, Tu y la Inmensidad , 2021 Comic book pages 47 1/4 x 78 3/4 inches Detail

“The philosopher Walter Benjamin recognized that a child finds meaning in fragments, in discarded things that he can identify and organize into a coherent whole that itself becomes a kind of atmosphere – an environment – that he can inhabit in his imagination. This is the creation of an alternative reality, but a reality that is just as real as the room in which he is sitting. My paintings begin with fragments strewn haphazardly across the canvas. These fragments are signs that lead me on to create an atmosphere which hopefully becomes in a way the totality of the painting. I like to think that we can enter a painting as though we are walking into a room, a room that envelopes and stimulates our imagination.”–Marcus Reichert

MARCUS REICHERT (1948-2022)

42 | Contemporary Artists

Marcus Reichert | 43 Clockwise: Bouquet , 2013 Oil on canvas 59 x 47 inches Red Petals , 2013 Oil on paper 35 x 23 inches Les TurquoiseFleurs: , 2013 Oil on paper 35 x 23 inches Les OrangeFleurs: , 2013 Oil on paper 35 x 23 inches Woman with Green Hair , 2012 Oil on canvas 39 1/2 x 31 1/2 inches

WINFREDReidsville.REMBERT (1945-2021)

44 | Contemporary Artists “It was [my wife] Patsy’s idea for me to become an artist. I knew I could draw, but I never thought I could do it on a professional level. I don’t know what talent is. When you got talent, how do you know you’ve got it? You need other people to prove it. Patsy kept telling me, Listen, you can do it , and she kept pushing me. She kind of convinced me that day at the dinner table when she told me that I could leave some things behind for other people to see when I leave this world. I could tell the truth about what I lived through and what it was like in Cuthbert [Georgia] back then.”

– Winfred Rembert, Chasing Me to My Grave: An Artist’s Memoir of the Jim Crow South , p. 270 Chasing Me to My Grave is the winner of the 2022 Pulitzer Prize. This is the first time a biography about an artist has been awarded the prize since Mark Stevens and Analynn Swan won for their acclaimed book on Willem de Kooning in 2005. The National Gallery of Art, Wasington, D.C. recently acquired its first work by Winfred Rembert, G.S.P. Reidsville (2013)—dye on carved and tooled leather, 23 3/4 x 35 3/4 inches—which depicts the artist’s experience working on a chain gang while serving time at the Georgia State Prison (G.S.P.) in

28 inches

tooled leather 30

38 inches Untitled

carved

Clockwise: on and 1/2 x (Classroom Scene) on x x

, 1997 Dye

carved and tooled leather 20

Winfred Rembert | 45

Chopping Watermelon , 2009 Dye

31 inches Loading Up Cotton Bags , 2012 Dye on carved and tooled leather 41 1/2

“By 1970 I had sold some sculpture and returned to Pietrasanta in my new used car... I began carving stone at the Henraux Company, the biggest marble company in the area since Napoléon’s time. It was named after a certain French Lieutenant Henraux Company, who had been sent by Napoléon to buy a quarry near Cararra to furnish marble for his palaces, monuments and possibly for Arc de Triomphe . The artistic director was Giancarlo Citti, who spoke French and looked after me. I learned most of what I know about the techniques of carving and casting by watching the professional carvers working on sculptures by Henry Moore, Marino Marini and Isamu Noguchi. Giulio Cardini was head carver with whom I have worked for forty years. The second carver was Primo and Saro completed the trio. Henry Moore himself never did any carving. When a sculpture was finished he drew his initials on the piece with a pencil and watched Giulio carefully carve “HM” into the stone. I was content to use the pieces of stone that remained after the roughing out process, doing my work in areas of the yard not used by the professional carvers.”

Ritchie has an upcoming Retrospective exhibition planned at the Baie Saint-Paul Museum (Québec, CA), opening November 2023, along with a forthcoming publication.

– Jim Ritchie, A Sculptural Life: The Life and Works of Jim Ritchie , p. 186

46 | Contemporary Artists

JIM RITCHIE (1929-2017)

Jim Ritchie | 47 Left to right: At the Beach , 2011 Natural bronze 5 x 10 x 5 Editioninches3/8 Reclining Cubist Nude 142 , 1995 Natural bronze 13 x 33 x 12 Editioninches1/8 Celine , 1996 Natural bronze 34 x 8 x 8 Editioninches2/8 La Vençoise , Bronze1987 Bronze: 62 x 12 x 12 inches Incl. Base: 78 x 14 x 14 Editioninches8/8

AITHAN SHAPIRA

“One of the defining memories from my childhood involves standing beside my grandfather hunched at his workbench in the back of his small electronic shop in Jerusalem watching him take apart a toaster and put it back together again, hopeful to learn something and make it better. I remember thinking: ‘I want to do that, too,’ and I decided then and there that I was going to be an artist like my grandfather.” – Aithan Shapira

48 | Contemporary Artists

Aithan Shapira | 49

Left to right: Holding On , 2021 Oil on canvas 72 x 84 inches Holding Down , 2021 Oil on canvas 60 x 48 inches Holding Close , 2021 Oil on canvas 60 x 48 inches

ANDREW STEVOVICH

– Andrew Stevovich

50 | Contemporary Artists

“There are two major influences on my work: the early Italian Renaissance, from Giotto to Fran Angelico and Piero della Francesca, and Expressionism, which I define to include not only artists such as Heckel, Munch and Beckmann, but also Gauguin and, though he is outside the category, Seurat. The humanism, abstraction and discipline of the former, the color and psychology of the latter, have all been of fundamental importance to my work. I will leave the viewers to exercise their own creativity and thought in regard to the meaning of the work. My own feeling is that paintings are in a way very much like mirrors; mirrors that will reflect better and be far more interesting without the intrusion of the artist’s verbal explanations.”

Andrew Stevovich | 51 Left to right: Lula Polishing a Sculpture , 2022 Oil on linen 15 x 10 inches • Four Women and a Demon , 2021 Oil on linen 14 3/4 x 21 inches Subway Checkpoint , 2021 Oil on linen 24 x 28 inches

FEDERICO URIBE

“I am obsessed with the idea of making objects. Sometimes I am successful. Sometimes I am not. Sometimes I like it and sometimes I do not. I build objects out of objects, I try to keep the identity of objects I am working with and at the same time, I want to transform the way these objects are viewed and understood. I like the idea of sophisticated craftsmanship. I believe that good craftmanship means you love what you do. I also believe that wellmanufactured objects seduce the viewer into understanding the meaning of my work.”

– Federico Uribe, excerpt from an interview with VoyageMIA magazine

52 | Contemporary Artists

Federico Uribe | 53 Clockwise: The Dentist , 2020 Colored pencils 60 x 64 x 40 inches Gold Bear, Seated , 2022 Bullet shells 12 x 15 x 9 inches Green Puppy , 2022 Colored Pencils 11 x 18 x 9 inches Tenderness , 2022 Colored pencil collage 39 x 51 inches

54 | Contemporary Artists

In regard to the works shown here, Jamie states, “All are intimate portraits of the significant denizens of my world.”

“Animals fascinate me, but I draw no distinction between a portrait of a person and a portrait of a dog – or of a bale of hay for that matter. I go about it with equal intensity and an equal amount of time, spending a lot of time, as I do with a human portrait. For sure, I’ve done portraits of certain houses. They are essentially portraits, not just scenes. But there is something about an animal, and in some of the dogs, like the Newfoundland where his head is larger than a human’s head, it is something fantastic. You get eye contact with him so terrifically.”

– Jamie Wyeth, Dog Days , Brandywine River Museum, 2007, pp. 51 & 93

“How I choose any subject is always sort of a mystery to me. I mean I’ll know a person for 25 years, and some morning I’ll jump out of bed and say, “Oh my God, I’ve got to paint him.” I get so wildly excited, and here I’ve known them for years and years. So when I choose to paint a dog, usually it’s a dog that I’ve known and lived with, and all of a sudden it strikes me that I have to record it. It’s not necessarily something they do, it’s just what I feel.”

JAMIE WYETH

Left to right: An Official Portrait of Archie Warhola , 2018 Acrylic, oil and enamel on Clayboard panel 36 x 30 inches Dog Under Lilacs in a Downpour , 2018 Acrylic and oil on Clayboard panel 36 x 30 inches Snow Owl: Fourteenth in a Suite of MonheganOccurrencesUntowardonIsland , 2020 Acrylic, oil and watercolor on canvas 46 x 36 inches

Jamie Wyeth | 55

EXHIBITION HIGHLIGHTS:

2021 – 2022

58 | Exhibition Highlights

LUSH was a variation of Uribe’s museum installations, which he recently exhibited at the Montclair Museum of Art (New Jersey, USA) for their show, Animalia . The works from LUSH , as well as others, will travel to The TELUS Spark Science Centre (Calgary, CA) for a solo exhibition in their 8,000 square foot feature gallery, January to June 2023.

FEDERICO URIBE: LUSH

The Plastic Reef (above) is currently on view at the Hudson River Museum in Yonkers, NY through February 12, 2023

November 4, 2021 – January 16, 2022, Palm Beach

Federico Uribe has made a name for himself over the past 25 years as a master of utilizing objects – often recycled materials – to create life-like sculptures. In LUSH , Uribe has assembled his most comprehensive and immersive gallery installation to date. Taking over Adelson Galleries’ entire Palm Beach space, Uribe transformed both levels of the gallery into a jungle of trees made from books, animals made from bullet shells, birds made from hangers, butterflies made from masks, an entire underwater reef made from recycled plastic, and many other recreations of life made from repurposed materials. The exhibition exemplified the range of Uribe’s chosen materials, and when brought together, each piece spoke to one another as if in a cohesive ecosystem. Visitors were drawn in off the street, as if led by impulse and curiosity. Each entered with a quizzical look and left with a smile, having discovered something they’d never seen before.

Federico Uribe: LUSH | 59

60 | Exhibition Highlights A founder of the international photo-realist movement in the 1960s, Richard Estes has been painting representations of his surroundings for almost six decades. Estes’ oil paintings create an illusion of observable reality, appearing at first glance to be a photographs. Working from snapshots that he has taken on his travels as “studies,” Estes takes artistic liberties in the final composition by moving or removing objects and people, making each scene depicted his own. He captures light, texture, and the sublimity of nature in a way that few painters before have been able to accomplish. Estes’ treatment of architectural lines, reflections, and perspective give the viewer pause as they contemplate how meticulously the artist applied paint to every square inch. Adelson Galleries was proud to present Voyages at our Palm Beach gallery in collaboration with Menconi & Schoelkopf Fine Art. The exhibition was composed of 26 artworks, spanning from 1980 to present. Included in the e-catalog is an essay by Patterson Sims, which reveals insight into Estes’ artistic process, stylistic development, and career as one of the most renowned contemporary painters. Scan the QR code above to view the full exhibition e-catalog.

RICHARD 30, 2022, Palm Beach

ESTES: VOYAGES March 1 – April

Century , 2020, Oil on canvas, 30 x 45 inches

Richard Estes: Voyages | 61

Mitchell Rembert shares a medium with his late father Winfred, who built his reputation on telling his harrowing life’s story of survival and perseverance through racism and abuse as a black man growing up in the Jim Crow south on carved and tooled leather. There is much of Winfred’s more recent story that he did not tell in his art. Racial injustice remains an issue in America, and the racism that Winfred experienced as a young man has evolved into a different form of inequality. He knew there was more to say about contemporary society, and Mitchell has the ability and personal experience to tell his own story. Beyond the leather, Mitchell’s works are singular in his approach – they give us the perspective of a black man in America today who sees and feels the atrocities being done to him and others. By virtue of Mitchell’s passion for creating these artworks, he seeks to carry on his father’s legacy and remind everyone that while things may seem different and evolved, history tends to repeat

WINFREDitself. & MITCHELL REMBERT: FATHER & SON November 4, 2021 – January 6, 2022, New York

62 | Exhibition Highlights

Winfred & Mitchell Rembert: Father & Son | 63

We are saddened to announce the passing of our artist Marcus Reichert (1948-2022). The gallery had represented Reichert since 2013, having exhibited his work in two solo exhibitions as well as numerous group shows. Marcus was a versatile artist working as a poet, author, photographer, film director, and most notably, a painter. His paintings have been exhibited widely in Glasgow, London, Paris, and throughout the United States. Reichert is the author of four novels and his photography is featured in two books of photography including Reichert: The Human Edifice . His neo-noir film Union City , which premiered at the 1980 Cannes Film Festival, was described by Lawrence O’Toole, film critic for Time magazine, as “an unqualified masterpiece.” Union City is held in the Film Archive of the Museum of Modern Art, New York, and his complete film works and his poetry comprise the Marcus Reichert Archive at the Bibliothèque nationale de France, Paris. Reichert was a member of the SoHo arts scene in New York during the 1980s and went 64 |

Marcus Reichert’s studio in Saint-Hippolyte-du-Fort, France

In Memorium

IN MEMORIAM: MARCUS REICHERT (1948-2022)

Marcus Reichert (1948-2022) | 65 on to live and work in Bridgehampton, NY; London and Hexham, England, and St. Hippolytedu-Fort, France, where he became a beloved member of the close-knit community. Debbie Harry, of rock group Blondie, starred in Union City and recently traveled to France to appear in a new film written and directed by Reichert. Principal photography was completed the day Reichert became gravely ill. Harry describes Reichert as a director with “decisive strength and great flexibility simultaneously...an interesting, multi-talented artist.”Reichert died January 19, 2022 from complications of a pulmonary embolism. He is survived by his wife, writer and photographer Sally MacLeod Reichert, of St. Hippolyte-du-Fort and by his sister, landscape architect Melissa Reichert of Shrewsbury, Vermont. We were introduced to Marcus through his longtime friend and peer at RISD, Andrew Stevovich. After a few trips to his home in Saint-Hippolyte-du-Fort, France, our Executive Director Adam Adelson developed a close bond with Marcus Reichert, and he chose Reichert as one of the first artists to represent in his newly opened Boston gallery. Over the course of nine years, we established a close working and personal relationship with Marcus Reichert and will continue to represent his work.•

Marcus Reichert at “Les Fleurs,” Boston, MA, 2015 Marcus Reichert (left) and Andrew Stevovich (right), Boston, MA, 2015

66 | Inquiries INQUIRIES

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