As we wish everyone happiness this holiday weekend, we check in with three artists, each continuing their practices – and painting. Our current Virtual Viewing Room of Pat Adams’s paintings and works on paper from the 1970s and 80s remains on view.

Brett Bigbee, April 2020

For almost thirty years Brett Bigbee has been known for his unique magic precisionist realism that shared qualities with both European Renaissance masters and American folk art. About two years ago he broke from these styles and moved in a direction of intimate surrealist portrayals of his own emotional landscape. The external became internal. We presented a small exhibition of these new paintings that was well received. We look forward to another, larger show, that will include Brett’s exquisite and highly detailed drawings.

Lois Dodd, March 2020.

Lois Dodd is well, happy and enjoying her usual routine in New York. Here touching up an earlier panel painting ( Clear Day Window, 2018) with another in-progress. The rounded windows are from her home and usual weekend studio near the Delaware Water Gap – she says it’s those windows that were one of the reasons she bought the house decades ago. On her easel, a view west from her third floor windows over the old Marble Cemetery toward the Bowery Hotel. A familiar subject for Lois over these past fifty years – even before our current confinement indoors.

John Walker, April 2020

John Walker now maintains his primary studio in an old Freemason hall near the water in MidCoast Maine. Here at home with Custard, one of his two Labs. The rural setting, already quite isolated, allows John to continue the short commute between home and studio each day. An exhibition of his recent paintings just closed at the Ikon Gallery in his hometown of Birmingham, England.  Please follow the link to John’s work at Ikon.

Brett Bigbee, A Desire for Grace (in progress), oil on linen, 7 x 5 inches. 

In the past my paintings took years to complete. I sought to create works that required exactitude and adhered to the disciplines devised by artists throughout history. These works are contemplative and bring great meaning to me. My life has not always followed a predictable path, and my new paintings started to reflect my internal and external conflicts.  —Brett Bigbee

Lois Dodd studio , April 2020

In Dodd’s paintings, we become the very figures Hopper depicted. We are no longer looking at them, but at ourselves. We are standing outside a house at night. Is it ours or someone else’s? We are looking at the window of a deserted house, its worn shutters and drawn shade. We will never know who lived there or what happened to them. Dodd is never nostalgic about this. She doesn’t bemoan something that is an inherent fact, our mortality. She knows the doors and windows will continue their existence after she stops looking. —John Yau

John Walker, studio view, April 2020. 

John Walker often says that he was born to be a painter, and painting is the medium through which he conveys his preoccupation with the natural world, and his place in it. His work is absolutely engaging in its essentialism – capturing light, space and tidal movement – striking a rare balance between wisdom and a seeming inexhaustible sense of wonder. —Jonathan Watkins, Director, Ikon

Pat Adams, Cardinal , 1978, oil, isobutyl methacrylate and eggshell on linen, 80 x 86 inches. 

Please follow this link to view Pat Adams’s work from the 1970s and 80s in our current Virtual Viewing Room.

American Art always on view by appointment – and now digitally by request.

The gallery continues to actively deal in the paintings of first-generation American Modernists and the Stieglitz Group. Please contact the contact the gallery at inquiries@alexandregallery.com.

Arthur G. Dove (American, 1880 – 1946), Untitled #11 , c. 1941, watercolor and ink on paper, 5 x 7 inches.

Alexandre Gallery | 212-755-2828 | www.alexandregallery.com

We will reopen our physical space when safe for all.