In her first show at The Bowery Gallery , Adrianne Lobel , best known as a stage designer (Nixon in China, Passio, The Hard Nut, and others) combines her exacting sense of proportion and architectural detail, her delight in texture and color, and her appreciation of the beauty of everyday blandness. These paintings are of mostly abandoned buildings—garages, malls, a bowling alley, and were all painted in upstate New York near her home in Rhinebeck, New York on the side of the road, out of her car, and in broad daylight.
When it comes to painting, the fashion designer Isaac Mizrahi knows what he likes and then some. ''Summer Pictures,'' the small, succinct exhibition of work by his friends that he has organized at the Saul gallery, makes everything, familiar or not, look fresh and relevant....Next to Ms. Kalman's images two paintings by Adrianne Lobel, a well-known set and production designer for theater, opera and dance, return to nature with prismatic, muscularly rendered images of trees that bring to mind the work of Benjamin Butler.— Roberta Smith, The New York Times summer 2009
The fashion designer Isaac Mizrahi curated this confectionary exhibition, complete with a little painting of cupcakes-vanilla, chocolate, and strawberry-by Wayne Thiebaud. The jaunty mood is announced at the entrance by Julia Sherman's ten-foot-long canvas of breezily askew dots and stripes and Donna Chung's confetti-colored collage. It continues in Maira Kalman's gouache parade of breakfasts and Adrianne Lobel's abstracted trees (which nod to Cezanne and Van Gogh). —Goings On About Town, The New Yorker summer 2009
Adrianne's paintings are charged, smart and very beautifully observed. In a relatively short period of time an entire body of very challenging pictorial ideas have been wonderfully spelled out. Her energy is spectacular. Her years of work in theater design continues to be applauded everywhere. Her graceful transition to painting has been supported by so many of her admirer.— George Negroponte, Painter
in these large, expertly handled scenes of american small town life, the prismatic imagery and edibly delicious palette of her previous tree-paintings have given way to a fascination with the lyricism of volume and line. but the apparent innocence of the captured scenes reveals a deeper poignancy upon closer inspection, and these paintings, like those of her spiritual antecedents Sheeler and Hopper, pulse with a mysterious mix of radiance and dread.
—Eli Gottlieb, Author
Adrianne's plein air paintings make from scratch a new impressionism for the 21st century. Her colors are riskily up to the minute. Adrianne does not fear color; her compositions are as musically architectural as a Bach counterpoint rethought into an original visibility. Everything becomes new in her hands.
—Matthew Bliss, Sculptor
Adrianne Lobel can really paint. In the old fashioned and the new fashioned sense. She is a mistress of color and a kind of geometric impressionism and her paintings capture something more than just trees and pumpkins, they capture a kind of melancholy that soaks into the atmosphere around them and radiates.
--Isaac Mizrahi, Designer
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