Oil on gessoed paper, mounted onto wood, and painted frame. Straus deconstructs a classically rendered painting of a Bahama seascape. By pixelating the image, and by incorporating text, Straus makes clear, the notion of technological importance in the contemporary world. A beautiful Bahaman sunset can be captured in the palm of our hands today, with a quick tap of an iPhone. Smart phone technology can even make record of the date, time, and pinpoint the geographical location of where the photo was taken. Adam Straus was born in Miami Beach, Florida, in 1956, into a family parented by Civil Rights activists. His passion for art grew while at the University of Florida from 1976-1980. After receiving a degree in mathematics, Straus studied photography with Jerry Uelsmann and Evon Streetman. In 1980, Straus enrolled in Florida State University’s Master’s program, and began crafting assemblages and sculpture. Straus did not begin painting until six years later (1986), and his first paintings were made with house paint, furniture varnish, and encased in sheet lead, depicting monochrome images that were not dissimilar to black-and-white photographs. Soon after moving from Florida to New York City in 1990, acclaimed art dealer, Norah Haime, took notice of Straus’s talent, and offered him a solo exhibition, “Greetings from Toxic Paradise” (1993). 25 years later, Norah Haime Gallery still represents Straus’s work, and has placed Straus in many important collections. Today, Straus is known for his majestic and luminous depictions of the sublime, which are often saturated with a concern about social and environmental issues. His penetrating dark humor can transport the viewer to post-apocalyptic worlds and often offers a wry observation on how humans have altered the natural landscape.
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Bahamas, August 16th, 12:30pm
Brass, Gesso, Wood, Paper, Oil, Graphite
A photo-realist painting is distorted with color-block pixels. "What’s amazing about today, is that we can capture a beautiful bahama seascape in the palm of our hand, and our smar...
Old News; In the Garden
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Straus emanates a whimsical philosophy with his second painting in the "Old News" series. He notes “Old News; In the Garden was meant to convey life and a crazy kind of growth coming...
Old News; Oncoming Storm
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In Old News; Oncoming Storm, 2017, Straus paints an arresting, realistic seascape upon an array of recent newspapers. Situated within oceanic open waters, a strong current of dark wa...
Volcano Glitch 2
Canvas, Oil, Acrylic, Rice Paper
Straus’s concern for the environment carries on throughout his oeuvre. For instance, in his recent “Glitch” series of paintings, Straus’s commentary is obvious and well-defined. He i...
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