The need for an ongoing “dual identity,” as a means of survival for the adult black male, is a theme that repeatedly manifests itself in Adams’s work.
“The work is a commentary on the age I have lived in. I am a documentarian, recording the critical moments of my life and those of society.”
Part of the history of the Tibor de Nagy gallery is embedded in the camaraderie that grew within a community of artists, poets, and writers.
The attack against “Degenerate Art” struck free thought and artistic expression at its core.
Her diaristic approach to personal history such as a failed marriage or the death of a loved one are what Olivieri called, “emotional hurricanes that are fodder for my work.”
Recently, the New York Times featured an article about the convergence of big dollars and art fairs. It questioned the reality of a collector—of modest means—finding first-rate works.
“Once you are involved in making art, everything seems secondary.”
It is Radycki’s premise that Modersohn-Becker was a “pioneer and groundbreaker,” one of the key early German modernists—the “missing piece in the history of modernist imagery.”
In this exhibit of artists of Guyanese heritage, almost forty works of photography, painting, welded steel, works on paper, and sculpture provided the foundation for expression that covered a continuum from abstraction to political subtext.
While his father’s side of the family inspired a progressive path for Shaw, his mother was aghast at his choice—at age 26—to travel to New York City to study with Stuart Davis.