TL;DR
David Nolan Gallery in New York is showing “Alice in the Land of Violence,” an exhibition centered on Valerio Adami’s paintings and drawings from 1962 to 1967. The presentation also includes “Hotel Pulitzer,” a painting completed this year, as the Italian artist’s first New York exhibition in more than 20 years.
David Nolan Gallery in New York is presenting Alice in the Land of Violence, an exhibition focused on Italian artist Valerio Adami’s work from 1962 to 1967. The show, his first in New York in more than 20 years, brings together 16 paintings and 15 drawings and includes “Hotel Pulitzer,” a painting completed this year, according to Hyperallergic’s review.
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The exhibition opens the gallery’s new Tribeca space. All but one of the paintings and drawings on view date from the 1960s. The exception, “Hotel Pulitzer,” is a recent work that the review says Adami completed at age 91. The report describes the painting as showing no loss of acuity, an assessment rather than a measurable finding.
Adami’s work brings together elements often associated with Pop Art and expressionism. The review describes flat, saturated color and black outlines alongside distorted figures and ambiguous forms. It also identifies surrealism as part of the mix, pointing to the influence of artists Roberto Matta and Wifredo Lam.
The review argues that Adami’s paintings do not settle into a single style or clear reading. It contrasts the artist’s ambiguous shapes and words with the onomatopoeic language associated with some American Pop Art. That interpretation frames the show as a view of how Adami adapted international art movements rather than simply following one of them.
A New York Return for Adami
The exhibition puts a concentrated group of Adami’s early-1960s work back before New York audiences after a gap of more than two decades, while the recent painting connects that historical focus with his continuing practice. The presentation also marks the opening of David Nolan Gallery’s new Tribeca premises, giving the show a role in the gallery’s move as well as in the artist’s exhibition history.
For viewers, the works offer a chance to see how Adami handled competing visual languages during a period of broad change in art. The review’s emphasis on Pop Art’s crisp outlines and expressionism’s bodily distortions points to a tension that can make the images difficult to categorize. The exhibition’s scale—31 paintings and drawings, according to the report—allows that approach to be seen across multiple works rather than through a single example.
The show’s importance should not be overstated beyond the available information. The source presents it as a notable return and a focused survey of a formative period, but provides no attendance figures, sales data, or independent measure of its reception.
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Adami’s International Art Influences
Adami was born in Bologna in 1935. After graduating from art school in Milan, he moved to Paris in 1955, where the report says he met Roberto Matta and Wifredo Lam. In the late 1950s, he traveled regularly and spent time in London, New York, South America and India.
According to the review, Adami’s circle included artists and writers such as Richard Hamilton, Jim Dine, Oskar Kokoschka, Jacques Derrida, Édouard Glissant and Octavio Paz. The report connects his later visual vocabulary to several sources: surrealist fragmentation and fantastical architecture, expressionist distortions of the body, and Pop Art’s outlined forms and strong color. These links help explain why the reviewer describes his style as syncretic, while the work remains difficult to reduce to any one influence.
The exhibition’s dates place most of its works in a period when art was changing internationally. The review notes that Adami’s 1960s work has been associated with Pop Art, but argues that this label alone does not account for the broader set of artistic exchanges behind it.
“His syncretic style melds Pop Art’s cool, outlined forms with expressionism’s figural distortions, resulting in a perturbing ambiguity.”
— Hyperallergic review
Details Beyond the Review
The source material does not provide the exhibition’s opening and closing dates, visitor response, pricing, or details about whether the works are for sale. It also does not give information about the artist’s current plans or whether the gallery intends to organize further presentations.
Descriptions such as “perturbing ambiguity” and the claim that “Hotel Pulitzer” shows no loss of acuity are the reviewer’s judgments, not independently verified facts. The available report gives no statement from Adami or the gallery about the exhibition’s selection, the new work, or the artist’s intentions.
The Exhibition’s Public Run
The immediate next step for readers interested in seeing the works is to check David Nolan Gallery’s current exhibition information for visiting dates and access details; those specifics are not included in the supplied report. Further information about the show’s schedule, public programming, or any later presentation has not been provided.
Any assessment of the exhibition’s reception will depend on developments after the opening, including attendance and public or critical response. The source establishes the show’s contents and New York significance, but does not report those outcomes.
Key Questions
What is “Alice in the Land of Violence”?
It is a David Nolan Gallery exhibition centered on Valerio Adami’s paintings and drawings, mostly dated from 1962 to 1967.
How many works are in the exhibition?
The review reports 16 paintings and 15 drawings, for a total of 31 works.
What is the most recent work in the show?
The exception to the 1960s works is “Hotel Pulitzer,” which the review says Adami completed this year at age 91.
Why is the exhibition notable in New York?
It is described as Adami’s first New York exhibition in more than 20 years and also opens David Nolan Gallery’s new Tribeca space.
What styles are associated with Adami’s work?
The review connects his work with Pop Art, expressionism and surrealism, while arguing that his style cannot be reduced to one of those movements.
Source: rss
