Copyright by Alice Adams 2018

EDUCATION:      

Columbia University BFA, 1953.

L’Ecole Nationale d’Art Decoratif, Aubusson, France, 1953–1954.

 

GRANTS AND AWARDS:     

French Government Fellowship, Fulbright Travel Grant to Aubusson, 1953–1954.

CAPS Grant, 1972–1973, 1976–1977.

National Endowment for the Arts, Artists Fellowship, 1978–1979, 1984–1985.

Short-term Fellow in the Humanities, Princeton University, NJ 1980.

Guggenheim Foundation Fellowship, 1981–1982.

American Academy and Institute of Arts and Letters Award in Sculpture, 1984.

Design for Transportation National Awards, 1996.

Pritzker Foundation Fellowship, Djerasssi Colony, Woodside, CA 1997.

Rockefeller Foundation Residency, Bellagio Study & Conference Center, Italy 2002. 

                 

TEACHING

Manhattanville College, Purchase, NY 1960–1980.

California State College in Los Angeles, CA 1965.

Pratt Institute, Brooklyn, NY 1979–1980.

School of Visual Arts, NY 1980–1986.

PUBLIC COLLECTIONS:

Weatherspoon Gallery, University of North Carolina at Greensboro, NC.

Sheldon Memorial Gallery, Lincoln, NE.

Edwin I. Ulrich Museum, Wichita, KS.

Jane Voorhees Zimmerli Art Museum, Rutgers University, NJ.

Museum of Art and Design, New York, NY.

Herbert F. Johnson Museum, Cornell University, Ithaca, NY.

Port Authority of New York and New Jersey.

New York City Board of Education, NY.

City of Denver, CO.

Brooklyn Museum, Brooklyn, NY.

Whitney Museum of American Art, NY.

Indianapolis Museum of Art, IN.
Bruce Museum, Greenwich, CN.

Princeton Museum of Fine Art, Princeton, NJ.

New Jersey State Museum, Trenton, NJ.

Walker Art Center, Minneapolis, MN.

 

SITE WORKS:

1977        Wilson College, Chambersburg, PA. “Leveling”.

               Nassau County Museum of Fine Arts, Roslyn, NY. “Adams’ House”.

 

1978        Queensborough Community College, Bayside, NY “Three Structures on a Slope”.

 

1977        Artpark, Lewiston, NY. “Shorings”.

 

1979        Wave Hill, Riverdale, NY. “The Lost House”.

 

1980        Princeton University, Princeton, NJ. “Mound for Viewing Slope and Sky”.

 

1982        Belmont Park, Dayton, OH. “From the Center”.

 

1983        Bemis Park, Omaha, NE. “Vertical Up for OOIC”.

               Dag Hammarskjold Plaza, New York, NY. “Roof Landing”.

 

1985        Sarah Lawrence College, Bronxville, NY. “Blue Line”.

PERMANENT COMMISSIONS: 

1984        Toledo Botanical Garden, Toledo, OH. “Small Park with Arches”.

1990        Bathgate Industrial Park, Bronx, NY. “Glider Park”.

               A percent-for-art project of the Port Authority of New York and New Jersey.

1991        Thomas Jefferson University, “The Roundabout.” A percent-for-art project of the

               Redevelopment Authority of the City of Philadelphia, PA.

1992        P.S. 12, Brooklyn, New York, “African Garden.” 

               A percent-for-art project of the New York City Dept. of Cultural Affairs. 

1992        The Riverview Hospital for Children and Youth, Middletown, CT,

               “The River.” A percent-for-art project of the State of Connecticut.

1994        Denver International Airport, Denver, CO, “Beaded Circle Crossing.”

1997        University of Texas at San Antonio, TX, “Healer’s Spring.”

2000        University of Delaware, Newark, DE, “Scroll Circle.”

2000        North Terminal, Fort Lauderdale/Hollywood Airport, FL.

               “Stone and Glass Gardens.”

2004        Montclair State University Station New Jersey Transit, Little Falls, NJ.  “Habitat.”

2005        Veteran’s Memorial Home, Vineland, NJ, “Wall of the Tides.”

               A project for the New Jersey Council on the Arts.

 

DESIGN TEAMS AND MASTER PLANS: 

1985–      Downtown Seattle Transit Project, Seattle, WA,

1990        International District Station Plaza and Convention Place Station.

1988        Lawrence, MA, “Worker’s Place Park.

1988–       MetroLink Transit System St. Louis, MO. 

1990         Design of new light–rail Transit System.

1994        Soryocho, Hiroshima Prefecture, Japan, “Haizuka Dam Earthworks Project."

1994–       Ronkonkoma Station, Long Island Railroad, “Planting.”

1995         A project of the New York City MTA.

 

2005–       Charlotte Area Transit System. Charlotte, NC, Art Master Plan,

2008         Systemwide work in 90 locations.

 

SOLO EXHIBITIONS: 

1963        J. Blumenfeld Gallery, NYC.

1973        55 Mercer Gallery, NYC.

1974        55 Mercer Gallery, NYC.

1979        Hal Bromm Gallery, NYC.

1981        Hal Bromm Gallery, NYC.

1980        Artemesia Gallery, Chicago, IL.

1983        Dag Hammarskjold Plaza, NY.

2000        Lehman College Art Gallery, Bronx, NY.

2018        David Hall Fine Art, Wellesley, MA.

SELECTED GROUP EXHIBITIONS:

1957        Bertha Schaefer Gallery, NY.

1958        “Fulbright Designers,” Museum of Contemporary Crafts, NYC.

1961        “American Tapestries,” Victoria and Albert Museum, London, UK.

1963        “Woven Forms,” Museum of Contemporary Craft, NYC.

1965        "American Abstract Artists Annual," Riverside Museum, NYC

1966        “Eccentric Abstraction," Fischbach Gallery, NYC.

               “Miniature Tapestries,” Museum of Contemporary Craft, NYC.

1971        “Sculpture Annual,” Whitney Museum of American Art, NYC.

                Penthouse Gallery, Museum of Modern Art, NYC.

               “Artists at Work,” Finch College Museum, NYC.

1972        “American Women Artists Show,” Kunsthaus, Hamburg, Gemany.

1973        “Biennial,” Whitney Museum of American Art,” NYC.

1974        “Painting and Sculpture Today,” Indianapolis Museum of Art, Indianapolis, IN.

1976        “Four Sculptors,” (Adams, Aycock, Ferrara, Miss), Williams College Museum,

                Williamstown, MA.

1977        “Wood,” Nassau County Museum of Fine Art, Roslyn, NY.

1978        “Architectural Analogues,” Whitney Museum Downtown, NYC.

               “Dwellings,” Institute of Contemporary Art, University of Pennsylvania, PA.

1979        “The Artist’s View,” Wave Hill, Riverdale, NY.

1980        “Special Project Installation,” PS1, Long Island City, NY.

               “Architectural References,” Los Angeles Institute of Contemporary Art, CA.

 

1982        “Women Sculptor’s Drawing,” Max Hutchinson Gallery, NYC.

 

1984        “An International Survey of Painting and Sculpture,” The Museum of Modern Art, NYC.

                “Exhibition of Works by Newly Elected Members and Recipients of Honors and Awards,"

                American Institute of Arts and Letters, NYC.

 

1985        “Builtwork/Installation,” Sarah Lawrence College Gallery, Bronxville, NY.

 

1986        “American Abstract Artists—1936–1986,” Bronx Museum of the Arts, Bronx, NY.

                “House and Garden,” Nassau County Museum of Fine Arts, Roslyn, NY.

 

1987        “Standing Ground: Sculpture by American Women,” Contemporary Arts Center,

                Cincinatti, OH.

 

1988        “Westside Waterfront Competition: Prizewinning Entries,” (with Alan Finkel),

                Municipal Art Society, Urban Center, NY.

 

1989        “Lines of Vision: Drawings by Contemporary Women,” Hillwood Art Gallery,

                Long Island University, NY and Blum-Helman Gallery, NY.

 

1993        “Contemporary Public Art in the Bronx,” Lehman College Art Gallery, Bronx, NY.

                “Studio to Site, Public Art in New York City,” Sidney Mishkin Gallery, 

                 Baruch College, NYC.

 

1994        “Art en Route: MTA Art for Transit,” Payne-Webber Gallery, NY.

                “Art for Learning,” projects commissioned by the NYC Board of Education,

                 Municipal Art Society, NYC.

                “Hunter College Invitational,” Hunter College Galleries, NYC.

 

1997        “A Long Look at Fifth Avenue,” collaboration with Ken Smith, Landscape Architect,

                Municipal Art Society, NYC.

 

1998        “Abstraction,” Edwin I. Ulrich Museum, Wichita, KS.

                “Footfalls,” Greenport, NY.

 

2000        “Earthworks on Paper,” 871 Fine Arts, San Francisco, CA. Catalog essay by Ted Purves.

                                    

2008        “Decoys, Complexes and Triggers, Feminism and Land Art in the 1970’s,”

                Sculpture Center, NYC.

 

2010        “Artpark:1974–1984,” University of Buffalo Art Gallery, Buffalo, NY.

 

2011        “Splendor of Dynamic Structure: Celebrating 75 Years of the American Abstract Artists,”

                Herbert F. Johnson Museum, Ithaca, NY.

                “American Abstract Artists: 75 Years,” OK Harris Gallery, NYC.

 

2012        “Materializing Six Years”, Lucy Lippard and the Emergence of Conceptual Art,

                Brooklyn Museum, NY (award for best thematic museum show in NYC in 2012

                by the International Association of Art Critics).

 

2013         “Potential Fields... A Meandering Algorithm,” Clermont State Historic Site, Clermont, NY.

                "Forty-for Forty,” Fortieth Anniversary Exhibition, Artpark Gallery, Lewiston, NY.

                “Composite Landscapes: Photomontage and Landscape Architecture,”

                 Isabella Stewart Gardiner Museum, Boston, MA.

                “American Abstract Artists Print Portfolio,” Brattleboro Museum of Art, VT.

 

2014        “Sensory Impact,” Morgan Stanley International, Purchase, NY.

 

2016        “Drawing for Sculpture” Curated by Courtney Puckett, Tiger Strikes Asteroid,

                Brooklyn, NY.

                “40: The Anniversary Exhibition,” Hal Bromm, New York, NY.

2018        “Blurring Boundaries, The Women of AAA, 1936-Present,” University of Tennessee,                          Knoxville, TN.

2019        "SNOWJOB," Hal Bromm Gallery, New York, NY.

 

SELECTED BIBLIOGRAPHY – PERIODICALS:

1960        “New Talent,” Art in America, no.1, p.48, p.50, illus.

                Finn, Gloria. “Alice Adams: The Fiber as Pattern,” (feature article), Craft Horizons,

                vol. XX, No. 3, May–June, pp. 16-20 and cover.

 

1963        Slivka, Rose. “The New Tapestry,” Craft Horizons, March–April, vol. XXIII, no. 2 p. 10-11.

               

               “Sculpture Tessute,” Domus, November, no.48.

 

1967        Kafka, Barbara. “The Woven Structures of Alice Adams,” Craft Horizons.

               

               Lippard, Lucy. “Eccentric Abstraction,” Art International.

 

1968        Adams, Alice. Artist’s statement and biography, color photo, Art Now: New York, July.

 

1971        Wellish, Marjorie. “Material Extension in New Sculpture,” Arts, Summer.

 

1974        Schjeldahl, Peter. “A Journey Well Worth Making,” The New York Times, January 20.

               

               John Perreault. “Concrete, Lath and Blue Silk,” The Village Voice, January 24.

 

1977        Lippard, Lucy. “Wood at the Nassau County Museum,” Art in America, vol. 65, No. 6,                     Nov–Dec. pp. 136-137.

               

               Perreault, John. “Outside the City: Lumber in the Woods,” SoHo Weekly News, July 21.

 

1979        Kingsley, April. “Art,” The Village Voice, January 29.

               

               Malen, Lenore. “Alice Adams,” Arts, vol. 53, No. 9, May, p. 13.

               

               Ashbery, John. “The Sculptures of Summer,” New York Magazine, July 23. 

               

               Lippard, Lucy. “The Abstract Realism of Alice Adams,” Art in America, September.

 

1980        Linker, Kate. “An Anti-Architectural Analogue,” Flash Art, January/February, pp.94-95.

               

               Radice, Barbara. “La Chiamano (Architectural Sculpture),” Casa Vogue, 

               June, No. 107, p. 157.

 

1981        Zimmer, William. “Adams’ Eaves,” The SoHo Weekly News, April.

                

               Cone, Michelle. “Review,” Art Express, September.

                

               Nadelman, Cynthia. “New York Reviews,” Art News, vol. 80, No. 9, Nov.

 

 

1982        Linker, Kate. “Princeton: Alice Adams,” Art Forum, vol. XX, No. 9. Nov.

               

               Klein, Michael R. “Alice Adams: Mound for Viewing Slope and Sky, ”Art       

               Express, May/June.

               

               Yalkut, Jud. “Sites for Vision,” Dialogue, October.

               

               Cone, Michelle. “L’Invasion Neo-expressionniste a New York". Vie des Arts. 

               Vol. XXVII, Numero 105, Automne (photo).

 

1984        Marzorati, Gerald. “Your Show of Shows,” Art News. Vol. 83, No. 7, September, (photo).

 

1985        "Vertical Up for the OOIC: The Makiing of a Sculpture," Issue 2: A Journal for Artists,                        winter 1985.

1987        Stevens, Albert. “The Downtown Seattle Project,” L’Arca, Milan, June, pp. 56-61.

               Essays by M. Paul Friedberg, Richard Plunz, Nicholas Quennel, Virginia Dajani.

               “New York Wanted a Waterfront,” Arredo Urbano, Rome, numero 27-28.

               Clemens, Marilyn. “IFLA Congres Mondial 1988, Perspectives Internationales:          

               "Communications and Collaborations,” Paysages et Amenagement,

               Societe Europienne de Presse et des Services, Paris, November, pp. 25-26.   

      

               Weiss, Glenn. “Seattle Art in the Tunnel,”  Progressive Architecture, November,

               pp. 23 and 28

 

1989        Glowen, Ron. “Transit Tunnel Dialogue Team Notes, Creating Public Places,” Public Art                 Review, Vol. 1, #2, published by Forecast Public Artwork, Minneapolis, MN, pp. 8, 17.

               Kay, Jane Holtz. “Honoring the Quick and the Dead,” Landscape Architecture, January.

 

1990        Grimly, Terry. “Heady Days for Public Art,” The Birmingham Post, Birmingham, England,                 April 26.

 

               Canty, Donald J. “Sparkling Station,” Record Lighting (supplement to Architectural

               Record), August,  cover, and pp. 28-31.

 

1991        Donald J. Canty. “Architectural Underground,” Architectural Record,

               (centennial issue) July, pp.  212-221.

               Godfrey, Jean. “Melee in the Metro,” Contract Design, June, pp. 35-40.

1992        NEWS, “Jefferson in Philadelphia,” Landscape Architecture, June.

1993        Colin Poitras. “Artist Gives Patients Taste of Nautical Life,” The Hartford Courant,

               December 14.

 

1994        Adams, Alice. “St. Louis MetroLink;  Changing the Rules of Transit Design,” Places.

               Emily Blumenthal. “St. Louis, A Design Team Collaboration,” Maquette Magazine,

               December,  pp. 8-13.

               Wickersham, Claire. “Percent-for-Art: Variations on a Theme,” Public Art Review,

               Issue 9, Vol. 5, #1, Fall-Winter 1993, p. 11 (photo).

 

               van Wesemael, Maarten. “The Green Heart of Holland project, case studies,”

               Concept, pp. 29, 31, 35.

 

              “Art for Learning,” catalog for Municipal Art Society exhibition of projects commissioned

               by the N.Y.C. Board of Education during the 1990-1994 capital plan.

1995        Huebner, Jeff. “Holding Pattern,” New Art Examiner, vol. 22, issue 10, Summer 1995,

               pp. 24-29 (photo).

                   

              “1994 in Review, Public Art.” Art in America Annual Guide, vol. 83, number 8, p.35 photo.

 

1997        “A Long Look at Fifth Avenue,”  Municipal Art Society Newsletter, May-June.

                 

               “Fifth Avenue: Designers and Critics Talk,” Municipal  Art Society Newsletter, July-Aug. 

             

               Louis, Elaine. “Spaceships? No, Just Chandeliers,” The New York Times, July 3.

1998        “Recent Projects,” [San Antonio Project] Public Art Review, vol. 10, #1, issue 19.

 

1999        Moss, Marsha and Robin Rice. “Philadelphia,” Sculpture, July.

2000        Perera, Nishan. “Alice Adams is Sculptor, Architect and Landscape Designer All in     

               One,” The Riverdale Press, February 24.

                   

               “Scale Models of Projects that Grace Cities,” The New York Times, Sun. April 9, p. 16.

               

               Goodman, Jonathan. “Alice Adams,” Art News, (NY Reviews), vol. 19, #8, October, p. 62.

               

               McAdam, Barbara.  “Alice Adams,”  Art News, (NY Reviews), vol. 99, #8, September.

 

 

2001        “2000 in Review, Public Art,” Art in America Annual Guide, vol. 88, p. 50 (photo).

             

               “Recent Projects,” [Scroll Circle]. Public Art Review, vol. 13, #1, issue 25, p. 48.

 

               “Commissions: Alice Adams,” [Scroll Circle], Sculpture, vol. 21, #8, October,

 

 

2005        “Commissions: Alice Adams,” [Habitat], Sculpture, vol. 24, #7, September.

 

 

2007        Rosenberg, Karen.  “This Land is Her Land (And Her Artwork Too) Decoys, Complexes,  

               Triggers,” The New York Times, Friday, June 13.

 

2008        Boettger, Suzann. “Excavating Land Art by Women in the 1970’s: Discoveries and

               Oversights,” Sculpture, November.

2011          MacAdam Barbara. “American Abstract Artists:  OK Harris Work of Art” (exhibition                          review) Art News, October 2011, p. 107.

2012        Spayder Jon. “Public Art and Placemaking” Public Art Review, Fall/Winter, p. 24.

2018        McQuaid, Cate. "Rawness and Mystery in the Early Work of Alice Adams," The Boston                     Globe, December 12.

 

BOOKS AND CATALOGS:

1968        Kauffman, Ruth. The New American Tapestry. New York: Chapman-Reinhold.

 

 

1973        Constantine, Mildred, and Jack Lenor Larsen. Beyond Crafts, The Art of Fabric. 

                New York: Van Nostrand Rheinhold. (p. 45, 49–50).

 

1984        Oldenburg, Richard E. and Kynaston McShine. An International Survey of Recent                           Painting and Sculpture. The Museum of Modern Art, NY. (photos 16,17).

 

 

1993        The Worlds Airports—International Airports & Their Commercial Facilities.

               Shotenkenchhiku—Sha Co. Ltd. Yichi Arai. (photo of “Beaded Circle Crossing”   

               Concourse B, Denver International Airport, p. 58).

 

1995        Heller, Jules, and Nancy G. Heller. North American Women Artists of the 20th Century:

                A Biographical Dictionary. New York: Garland. (p.9).

 

1996        Reed, Christopher. Not at Home: The Suppression of Domesticity

               in Modern Art and Architecture. New York, NY: Thames and Hudson Limited,

               (photo of “Lost House” p. 261–262).

 

1999        Adorn the Halls: History of the Art Collection of Thomas Jefferson University. 

                Published by Thomas Jefferson University, Philadelphia, PA. Edited by Malcolm         

                Clendenin, (“The Roundabout” text and photos p. 534, 535, 536). 

2009        Auther, Elissa. String, Felt, Thread: The Hierarchy of Art and Craft in American Art.

               University of Minnesota Press: Minneapolis, MN. (p. 1–3, 5–7, 10, 30, 47, 183 n.12). 

               

               Derrick, Rachel. The Rockefeller Foundation Bellagio Center, The First 50 Years.        

               The Rockefeller Foundation, NY. (photo and statement, p. 60, 61).

 

2010        Smith, Gary W. From Art to Landscape, Unleashing Creativity in Garden Design.

               Timber Press, Portland, OR. (photo and text p. 108, 109).

 

2012        Bryan-Wilson, Julia. Materializing “Six Years”: Lucy R. Lippard and the Emergence of   

               Conceptual Art. Published by the Brooklyn Museum and the MIT Press. 

               (text and photo p. 5, 6, 100, 101). 

 

2014        Composite Landscapes: Photomontage and Landscape Architecture. 

               Isabella Stewart Gardener Museum, Hapje Cantz Verlag. 

               (text and photos p. 150–151, 153).

2016        Humblet, Claudine. Postminimalism et Antiform: depassement de l’esthetique minimale. 

               Skira Publishers, Milan, Italy. (text and photos p. 223–249).

2018        Alice Adams: Woven Forms and Post Minimal Sculpture 1959–1973. David Hall Fine Art.