Art Basel Miami Beach

Bob Thompson, Marsden Hartley, William H. Bailey, Milton Avery, Lois Dodd, Tom Uttech, Charles Burchfield, John La Farge, Charles Demuth, Charles Sheeler, Elizabeth Catlett, Georgia O’Keeffe, Stephen Westfall, Joan Snyder, Pat Adams, Arthur Dove, Stuart Davis, John Marin, Brett Bigbee, Richard Estes, Gaston Lachaise

Booth H4 December 5 – 8, 2024

Miami Beach Convention Center 1901 Convention Center Drive Miami Beach, FL 33139

Email inquiries@alexandregallery.com for further information on the artists, the works, or the fair.

Art Basel Miami Beach

Bob Thompson, Untitled (Noli Me Tangere), 1961, oil on canvas, 25 3/8 x 21 3/16 inches

December 5 – 8, 2024

Bob Thompson, Two and the Same, 1960, oil on canvas, 61 x 71 inches

Art Basel Miami Beach

Booth H4
December 5 – 8, 2024
Miami Beach Convention Center
1901 Convention Center Drive, Miami Beach, FL, 33139

Email inquiries@alexandregallery.com for further information on the artists, the works, or the fair.

Bob Thompson, Untitled (Noli Me Tangere), 1961, oil on canvas, 25 3/8 x 21 3/16 inches

Alexandre Gallery is pleased to present a selection of contemporary and 20th century American modernist works from the gallery’s core program. Works include a new monumental reflection painting by Tom Uttech, based upon observations of the remote wilderness of his native Northern Wisconsin, which illuminates the majesty of this precious landscape with magical realist precision. In three major paintings from Bob Thompson charting the years of 1959-1961, the artist’s early days in New York, musing upon ideas of identity and desire, give way to his discovery of European masters and the employment of their forms to engender his own distinct vision. In a group of paintings by Lois Dodd ranging in date from the 1970s to the present, including two large canvases, minimally painted depictions of Maine serve as visual hymns to the essence of nature.

Bob Thompson, Goodbye, Come Back, 1959, oil on linen, 49 x 69 inches

I am trying to show what’s happening, what’s going on... in my own private way.

— Bob Thompson

I think of my still lifes in architectural terms. My paintings are like imagined towns, not real ones. They are places for me, painting places. If there is idealism in my painting, it has more to do with a painting ideal than an ideal subject.

— William H. Bailey

William H. Bailey, Straniero, 2009, oil on linen, 30 x 36 inches

Milton Avery, Milliner, 1945, oil on canvas, 49 1/2 x 35 3/8 inches

Lois Dodd, Bee Approaching Touch Me Nots, 2006, oil on linen, 36 x 44 inches

Tom Uttech, Ojichaagebiishin, 2024, oil on linen, 91 x 103 inches, including artist’s hand painted frame

I have but one ambition—to put down with a sense of authority and artistic conviction an object—some days for form only—then for color.

— Marsden Hartley

Marsden Hartley, New Mexico Recollection — Storm, 1923, oil on canvas, 29 x 41 1/2 inches

Marsden Hartley, West Brooksville, Maine, 1939, oil on board, 22 x 16 inches

Marsden Hartley, Autumn, Dogtown Common, 1934, oil on board, 12 x 15 1/2 inches

Charles Burchfield, March Clouds and Tree, 1946, watercolor on paper, 35 1/2 x 28 1/2 inches

John La Farge, Still Life with Waterlilies and Hibiscus, 1865, watercolor on paper, 12 x 15 1/4 inches

Charles Demuth, Single Peonies, 1929, watercolor on paper, 13 1/2 x 19 1/2 inches

Charles Sheeler, Summer Flowers, 1927, graphite and watercolor on paper, 22 3/4 x 14 inches

Elizabeth Catlett, Untitled (Female Figure with Arms Raised), 1979, carved wood, 32 1/2 x 10 x 7 inches

Before I put brush to canvas, I question, “Is it mine? Is it all intrinsically of myself?”

— Georgia O’Keeffe

Georgia O’Keeffe, Untitled (Green Apple on Dark Plate), 1922, oil on canvas, 8 x 7 inches

I’ve always thought that icons are trying to represent the light and space of eternity. If you think of infinity as being an analogy of eternity, then eternity is as close to us as it is far away. So it needs to be the consistency of a stick of butter in a funny way. Color infinitely regresses and it infinitely advances. I break up surface with color.

— Stephen Westfall

Stephen Westfall, Song, 2021, oil and alkyd on canvas, 72 x 24 inches

Speaking. Repeating images. Decoding. Deciphering. Chanting. Seeing through many layers to the bare bones, the skeleton, the essence, the beginning and then the end, like a symphony, the staff, the grid, the sounds, building layers, maintaining clarity, as clear as you can be, the strokes, they’re not minimal, they’re notes that have rhythm and sound and texture, more not less, simple, complex, clear. ... and always searching for beauty...

— Joan Snyder

Joan Snyder, Bluescape, 2004, mixed media on panel, 20 x 20 inches

Joan Snyder, The Sun / Like the Sea, 2002, oil, acrylic and herbs on wood panel, 20 x 38 inches

Pat Adams, Such That, 2008, oil, isobutyl methacrylate, shell and bead on linen, 77 x 91 inches

No doubt (aside from psychological preference) my ease in placing dissimilar and unlikely visual elements together on a canvas comes from seeing there in the interstices of nature’s forms man’s invented forms, man’s invented spheres, squares, pyramids stacked to the sky, fronting infinity.

— Pat Adams

I look at nature, I see myself. Paintings are mirrors, so is nature.

— Arthur Dove

Arthur Dove, Untitled #10, 1941, ink and watercolor on paper, 4 3/4 x 6 7/8 inches

Arthur Dove, Syosset, 1940 watercolor on paper 5 x 7 inches

Stuart Davis, (Study for “Flying Carpet”), 1942, gouache and graphite on paper, 10 x 14 inches

John Marin, New York No. 2, 1925, charcoal and watercolor on paper, 25 1/4 x 20 3/4 inches

Brett Bigbee, Toward Dark, 2023, oil on linen, 14 1/4 x 19 5/8 inches

Stuart Davis, Egg Beater, 1923, oil on board, 37 x 22 inches

There is something about knowing a place. Over time you keep changing, you see things differently. And the various places I love to paint change as well.

— Lois Dodd

Lois Dodd, Attic Staircase and Sunlight, 1987-88, oil on linen, 60 x 38 inches

Lois Dodd, Window and Ice Bank, 1983, oil on Masonite, 11 7/8 x 17 inches

Lois Dodd, The Broken Door, Blaisey’s Place, 1999, oil on Masonite, 17 3/4 x 12 inches

Richard Estes, View From the Williamsburg Bridge II, 1995, oil on canvas, 29 x 36 inches

Gaston Lachaise, Leaping Dolphin, 1926, bronze, gold patina, 13 x 2 x 9 inches

Alexandre is located at 25 East 73rd Street in New York City. Currently on view at the gallery is A PLANAR GARDEN, a group show curated by painter Stephen Westfall.

Follow this link to the exhibition show page.