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Thanksgiving Saturday Art Walk 



Over twenty Art Galleries in the Hamptons from Southampton to Amaganett have joined together to create the "Thanksgiving Saturday Art Walk". The free self-guided tour celebrates "Art In The Hamptons" this holiday season and allows you speak with local curators, peer into the galleries art windows and enjoy festive refreshments. 

Galleries on the tour include Chrysalis Art Gallery, Tripoli Gallery of Contemporary ArtArthur T. Kalaher Fine ArtKathryn Markel Fine ArtsMark Borghi Fine Art, Julian Beck Art Gallery, Peter Marcelle Gallery, The Dan Flavin Art Institute, Dodds and Eder Sculpture Garden, Monika Olko GalleryRichard J. DeMato Fine Arts GalleryRomany Kramoris Gallery, The Grenning Gallery, The Hooke Sculpture Gallery, Tulla Booth GalleryBirnam Wood GalleriesDavenport and Shapiro Fine ArtsHalsey Mckay GalleryGlenn Horowitz BooksellerSotheby'sWallace GalleryVeredFine Art, Quik Fun Gallery, Crazy Monkey Gallery, Ille Arts and Neoteric Fine Art Gallery. 

Also available are scheduled art tours which are led by local artists which cost $10 per person and begin at 1 p.m. In East Hampton the tour is led by multidisciplinary artist Andrea Cote ( and it begins at Quik Fun Gallery. In Bridgehampton the tour is led by artist and curator Molly Morgan Weiss( and the tour begins at Peter Marcelle Gallery. In Sag Harbor, the tour is led by artist Paton Miller ( and the tour begins at Arthur T. Kalaher Gallery. In Southampton the tour is led by the founder of Artwalk Hamptons and photographer, Kathy Zeiger and begins at Chrysalis Art Gallery. 

Registration for the scheduled tour and maps to download are available at:



                                    Nahum Tschacbasov Featured in New Book! 

See the newly published book 
"Art Interrupted" click here!
This new publication showcases Nahum Tschacbasov alongside Georgia O'Keeffe, Robert Motherwell, Edward Hopper, Stuart Davis and many other 
well-known artists!

Adler | Beegan Artistic “Montage” Brings Abstract Expressionism into the 21st Century
By Lisette Ruch


Art Bytes

  • Celebrated artists, Andrew Hart Adler and Carolyn Beegan, have created a true artistic “montage,” melding a collage of digital photographs and abstract expressionist painting into a cohesive, contemporary whole.


  • Their work is relevant in the 21st century because it reflects the continued infusion of technology and digital media into our every day lives to the point where the lines between it and physical reality are blurred, just as in their pieces.


  • Consistent with 21st century reality, while it is ubiquitous, digital/computer-driven information is nothing without the creative genius, emotion, and interpretation behind it (reflected by the enhancement both digitally and by hand of the digital images).


  • For those of you who can’t get enough of the Abstract Expressionists despite the monumental ABEX Show earlier this year and the current de Kooning retrospective at the MOMA, you will appreciate this duo’s work.  The Adler/Beegan combined works reflect consistent Abstract Expressionist themes, while at the same time interpreting them through a 21st century lens.  Among those themes:  Interest in the process of creating (action) as much as the composition itself, playing with biomorphic abstraction, and figure-ground ambiguity.


  • These works are hot!  Teasing you between figure and abstraction, the vivid color and emotion evoked will keep enlightened collectors admiring their works well into the future.


  • Their unique concept will continue to speak to viewers as technology extends out into more aspects of our lives.  Their artistic representation of this societal shift makes these works timeless and characteristic examples of early 21st century art and thus very collectible.


The artistic montage of East End Long Island artists, Andrew Hart Adler and Carolyn Beegan, is monumental.  By melding a collage of digital photographic images and physically tangible brush strokes in a repetitive process of creation, they have delivered us a form of contemporary abstract expressionism that highlights not only the technological aspects that suffuse our daily lives, but an actively emotionally riveting experience.  They meld together forms of digital media and physical paint-work to create a comprehensive whole, that is much more than either method could have produced on its own.  This parallels how technology is increasingly infusing itself into every aspect of our lives so that it is becoming a virtual extension of us.  Our accomplishments, as individuals and as a society, have been enhanced through this collaboration.  Moreover, their work is relevant to current generations in the 21st century because it reflects an existing, profound transformation in our society and yet highlights the concept that digital/computer-driven information is nothing without creative genius, emotion, and interpretation behind it.  Today’s enlightened art collector embraces the use of technology in an effort to create new mediums and extend the artistic experience.  At the rate technology is progressing, this unique concept will continue to become more relevant and speak to an increasing number of viewers.  Their artistic representation of this societal shift makes these works timeless and characteristic examples of early 21st century art and thus very collectible.        

The Artists

Andrew AdlerBorn to an artistically talented family in New York, Andrew Hart Adler, on his own, is already a world-renowned artist.  While mentored by Willem de Kooning in the mid-1970s, Adler developed his artistic talent largely on his own in Europe.   His solo paintings grace the esteemed collections of the Center Georges Pompidou, Paris’ center for modern and contemporary art, the Ackland Art Center in Chapel Hill NC, the Parrish Art Museum in Southampton NY, the Nasher Museum at Duke University NC, and the Musee d’Art Moderne in Ceret France.  His works are also held in prominent private collections including:  The Albert D. Lasker Collection, The Carnegie Group, Dresden Bank, Bayer Chemical, Mittel Milano, American Ultramar, and Wagner College, NY.   Over the years, he has exhibited his works in numerous galleries throughout Europe and the US in many solo exhibitions.  His works have been included in group exhibitions along side such greats as de Kooning, Pollack, Chagall, and Picasso.     


Carolyn BeeganCarolyn Beegan is also a celebrated, accomplished artist.  Although she originally studied computer science and was a systems analyst for an oil company, she later threw off the rationalism of software code, and followed her passion into art.  Also a native New Yorker, Beegan studied at the Art Students League in New York, but considers herself “self-taught,” because her classical education is in an entirely different discipline.  But her computer-savvy training and skills have turned out to be key in her current collaboration with Adler.  Her artistic eye allows her to frame just the right shot and then to use complicated photographic editing software to manipulate the images and create a basis for the final work.  Her paintings are part of numerous well-respected private collections including:  rarified art collector/dealer Larry Gagosian, business magnate Ron Perelman, celebrity entertainers Billy Joel and Elton John, and CNBC Mad Money’s Jim Cramer.  She has also exhibited her solo works in numerous single-artist and group shows at prestigious galleries in and around New York City.

This is more than collaboration; it is synergy.  When two awe-inspiring talents like this merge in love and respect, it is easy to see how they can create art of such deep emotional impact and precise technique.   It is also easy to see how their uniquely iterative process genuinely melds both sets of their artistic skills so well.  This synergistic combination is complete, creating a final work that is truly a unification of digital-paint.

The Creative Process

How are digital photographic images and paint blended together in such a seamless way that even the trained eye can barely tell where one ends and the other begins?  The pair start with compelling photographs they have taken of themselves, of far off places, or of interesting architectural details; pieces of art in their own right.  They select two or more photographic images and download them to a computer.  Then Beegan takes the reins and collages, manipulates, blends, and transforms the images into one striking composition using photo editing software.  The working composition is printed out on fine art paper in a small format.  Then it is Adler’s turn.  He uses this as a “primed” canvas, adding expression employing any combination of oil and acrylic paint, charcoal, siliconed wax, ink, dry pigments, etc.  Once the work-in-process is sufficiently dry, it is scanned into a digital format again.  Beegan then takes the enhanced digital image and, using the software, blows it up into a larger format, distorting the image in the very process of enlarging it.  She will then continue to alter it digitally.  This part of the process (small-format painting and digital manipulation) may be repeated indefinitely until the artists are satisfied with their creation.  Once they have a composite work that appeals to them, the work is then printed out once again, this time in its final, larger size.  Again, Adler picks up the brush and emotively adds any combination of mediums to create the finished work.  The duo’s process involves iteration after iteration of novel creation, with initial images and concepts sometimes completely altered in the final product.  This is reminiscent of de Kooning’s creative process in many of his works as illustrated by the successive stages of his iconic painting Woman I, on display in the Museum of Modern Art (MOMA).   In fact, despite the integration of technology, the pair remains true to many of the basic concepts and methods of the Abstract Expressionists. 

Abstract Expressionism Through a 21st Century Lens

For those of you who can’t get enough of the Abstract Expressionists despite the monumental ABEX Show earlier this year and the current de Kooning retrospective at the MOMA, you will appreciate this duo’s work.  The Adler/Beegan combined works reflect consistent Abstract Expressionist themes, while at the same time interpreting them through a 21st century lens. 

The complexity and repetitive nature of the duo’s process for creating their collaborative works has undertones of the Abstract Expressionist idea that the creative process or action of creating is just as important as the composition itself.  However, in contemporary translation of this idea, the pair has focused more on the action and less on spontaneity.  They have taken the “gesture” of creating far beyond Jackson Pollack’s dribbling and splashing.  While part of their process is intellectual and calculated, they have also stayed true to the concept of emotional intensity and spiritual reaction, both in the computer-driven and painting steps.

FidelisWe can see the influence of Adler’s mentor, Willem de Kooning, in the way that they have played with biomorphic abstraction, switching between both figurative and abstract modes.  However, it is not the same theme employed almost 70 years ago by one of the czars of Abstract Expressionism.  Instead, they have evolved it through the use of 21st century digital media so that the line between shapes and figures is blurred - abstract shapes transform into figures and anatomical fragments morph into abstraction.   What is fantastic about their pieces is that as you view them, you can switch between figure and abstraction, seeing both very clearly.  And while in some works, abstraction is clearly dominant, it never reaches the pinnacle of non-objectivity, allowing the viewer to still dazzle at the work and attempt to discover some form in the composition.  For example, in the work entitled Fidelis, what appears to be a tangle of arms and branches, if viewed one step up as whole, transmutes into what appears to be a Star of David.  While distorted in abstraction, it is reminiscent and uses the same technique (while directly opposed) to the distorted, Cubi-sized swastika hidden in Picasso’s Guernica.   While not an Abstract Expressionist, Picasso’s work as representative of 20th century Modernism, did influence the ABEXers and all subsequent forms of art well into our 21st century.

Because they are playing with abstraction and figure/form (not just human figure, as nature is also included) the figure-ground relationship becomes tremendously important in their work.  A figure or form is, to a degree, defined by what surrounds it, known as the “ground.”  People are generally used to a background taking on less importance, thus the saying “disappearing into the background.”  But when artists create figure-ground ambiguity, where you cannot tell what is figure and what is background, they displace attention from a central image or focus the viewers attention on looking at and appreciating a piece in its entirety.  It’s like stepping back and calling attention to the entire work, but simultaneously also inviting the viewer to vigorously engage in the piece and cull out the figure/form from the ground.  This is active, intelligent art.  Just how do they create this beguiling ambiguity?  By overlapping different seemingly incongruous digital images, the figures or forms in a background can appear to be in the foreground and then by applying paint over these synergized images, positions change again swapping back to the background.  The end work is visually stimulating and results in works that can be cherished over time because you are constantly seeing new angles and perspectives within the same piece.

The Works

The pair gleam inspiration not only from their obviously amorous relationship, but like most artists, from the places they have visited.  Instead of setting up plein aire to interpret and then sketch nature, they capture the reality of it in the moment using a digital camera.  Unfiltered through human perception and brought to vivid life by a computer, the fact that they use digital images as the spring board for their creative process ensures that the real beauty of the human body, the scenery and/or the wildlife are the basis of their pieces.  Even though they have been successively altered and enhanced using hand and mouse, nature is still the focal point of their works.  

Abstract Figurations

Quatre ManisA Quatre Manis (For Four Hands)
We can see Adler’s musical family heritage peaking out in the title of this piece which references a duet played on one keyboard.  Drawing any parallels besides the obvious four hands in the work itself?  What makes this work phenomenal besides the brilliant color is the balanced approach to biomorphic abstraction.  Now you see the figure, now you don’t.  It can be viewed as a pure abstraction, or it can be viewed as a repetition of figure.  And of course you cannot ignore the erotic overtones, a la Georgia O’Keefe!  The cherry on top? - the characteristic Abstract Expressionist’s paint drips.





Bi PolarBi-Polar
As a diptych, Bi-Polar depicts exactly what it is, two conflicting sides of the same image.  What is so startling about this piece is the transformation it underwent during the creative process…unrecognizable!  Again a fantastic example of biomorphic abstraction where your mind is continually tricked back and forth between figure and abstraction to the point where it becomes elated, paralleling the erotic position of the figure.




Costa Rican Heat and African Safari

Se AlejanSe Alejan (They Drift Away)
Figure-ground ambiguity keeps the viewer’s mind active and racing trying to make representational sense of the composition.  This racing parallels the passion and intensity we will feel when we finally make out the central figures locked in ardent embrace.  Irony in the title?  Doesn’t look like anything is “drifting away” here!  While they embrace, they are drifting away together from the elements of the world.  Set against a jumble of branches and vegetation, the steamy scene feels natural and romantic.  This definitely evokes the acute ardor of the Abstract Expressionist.       




Another magical interpretation of biomorphic abstraction.  A hoof here, a leg there.  In a raw and naturalistic manner, the compositional jumble becomes a giant figure of power rearing a horned head, but yet wait, is there not an amorous embrace in there as well?  What do the artists intend by juxtaposing the symbol of a Minotaur and a loving entwinement?






Rhythms of the VeldtRhythems of the Veldt (dusk)
Adler is fond of the use of asymmetrical diptychs or triptychs in a corner of a room to create depth and uniqueness in a space.  It makes the design of a space very contemporary and interesting, but it also gives the work a three-dimensional perspective it otherwise would not have.  African zebras are majestic and here the artists have created abstraction by focusing on the line in their fur and melding different bodies together, without losing their spirit and cohesive form or descending down into an amorphous blob of line.  A perfect blur of digital and paint!




Adler’s and Beegan’s latest exhibition at the Arthur T. Kalaher Fine Art Gallery in Southampton, NY encompasses all of these spectacular works.  The exhibition will run from November 26th to December 17th, with the Opening held on Saturday, November 26, from 4pm to 8pm. 

Arthur T. Kalaher Fine Art Gallery
28E Jobs Ln
Southampton, NY 11968
631-204-0383 Logo

Sag Harbor Gallery Owner Resurrects The Unremembered And Fosters Local Artists

"Family of Jugglers," 1957 by Nahum Tschacbasov. (Courtesy Photo: Arthur Kalaher Gallery)

Sag Harbor - If there were a formula for fame within the visual arts marketplace, Russian-born painter, Nahum Tschacbasov, should have been Jackson Pollock. He was an acolyte of the New York School in the 1930s and 1940s, a purebred Abstract Expressionist, trained under the tutelage of Gottlieb and the shadow of Surrealism, complete with all the trappings of automatism and dreamscapes. He fraternized with the "tragic and timeless," manifesting his principles of gesture, color, form, and texture alongside Rothko, Newman, and other artists grouped together by the Union and the Works Progress Administration. Like Pollock, Tschacbasov excavated the confines of the unconscious mind, developing an undeniably-Jungian visual language of stars, moons, birds, and boats. The two artists even sought Jungian psychoanalytic treatment, both in 1939. Not to mention their geographic sensibilities - each settled on the East End for the remainder of their careers, like lions in winter. 

However, Tschacbasov did not have a highly publicized drinking problem. He had no tumultuous romances with any mid-century modernists (eat your heart out,
 Lee Krasner), nor is there a bio-pic airing his dirty laundry, exploiting his post-humus legacy for all movie-goers to see. He doesn't even have a Wikipedia page. Needless to say, he isn't cited on the shortlist of the most expensive artworks sold - Pollock presides over that catalog, earning $140 million for his "No. 5" at a 2006 Sotheby's auction. 

"I think he got lost in the shuffle," says
 Arthur Kalaher, owner of the Arthur T. Kalaher Fine Art Gallery in Southampton, as well as a newly opened sister studio space in Sag Harbor. Kalaher, who has been dealing and appraising art for over 25 years, has recently acquired the remaining works of Tschacbasov's estate, and is proud to exhibit the often-overlooked oeuvre in his Sag Harbor gallery. After years of working in antiques, Kalaher pursued a career as an art dealer as an extension of a childhood passion. His two galleries, which carry a large range of art, from traditional 19th century American and European painting, to more conceptual, "modern" pieces of the 1970s, cater to "quality art, art that stands on its own," Kalaher claims, "with value, and a fair market price." 

Given the recent increase in the art market's interest in mid-century Abstract Expressionists, Kalaher's exhibition of Tschacbasov's underrepresented paintings comes at optimal time for art collectors looking for works that will accrue value in upcoming years. According to historian and curator,
 Timothy Cohrs, in an article for Arts Magazine (1987), "Tschacbasov is that truly rare find - an overlooked dynamo worthy of a closer examination and another decade of exhibitions." 

Kalaher agrees, and if Cohr's article is any indication of the status-quo of the art market, Kalaher is curatorial visionary. "Each of the Tschacbasov's paintings are an attempt to reach some level of psychic expression," he says. "The very basic of Tschacbasov's art is the multiple self and a differentiated ego - aspects which artists in the past had a tendency to suppress."

This notion of the fragmented, though individuated self is particularly poignant when considering Tschacbasov's 1957 painting, "Family of Jugglers." In the painting, a series of faceless figures overlap on a visual plain like that of a shattered mirror. The boundary between self and other is muddled. The effect is disorienting, like looking into a broken shards of Technicolor glass. One cannot help but picture a young Tschacbasov, in the 1900s Russo-American slums of Chicago, inundated by a visual landscape of urban decay and poverty, only to reorder the imagery to his liking later in life.

The Abstract Expressionist movement marked the most blatant emergence of the artist's subjective experience, freed from the imperative of objective representation, and the mimesis of waking reality. What Tschacbasov offers viewers, with his convergence of Cubist lines and a Surrealist visual language is a raw expression of archaic thought, a primary-process rendering of the human experience. It comes to no surprise that contemporaneous artists of the New York School shared a mutual sense of alienation - they were too busy digging through the underbelly of consciousness and perception to socialize in their social world.
 Mark Rothko slit his wrists at his kitchen sink in 1970. Pollack crashed his Oldsmobile, drunkenly, in the summer of 1956. Thus the archetypal "artist as tortured soul" was reborn, only to be disparaged by the Pop Art descendents to follow. 

When one looks in between the facts, you might be able to conjecture why
 Peggy Guggenheim never came a-knocking for her Art of the Century exhibition, or why Sotheby's has never held a million-dollar auction in Tschacbasov's honor. He split with the New York School in the late 1950s - the whole thing must have been too egotistical for him. Whereas he sought a new dimension of representing political, human concerns, the nothingness of experience, and the gesture of painting itself was enough for Rothko, Newman, Pollock, and the like. According to Tschacbasov himself, "Having heard all the arguments for sanity in art, my work is a response to something more convincing. I suggest that the artist by all means explain his work thoroughly to the imaginative, keep his tongue in his cheek for the sophisticated, paint in umber for the melancholy, and go to bed on time." 

You can't argue with that.

In addition to fostering the underdogs of the art-historical establishment, Kalaher believes whole-heartedly in the works of local artists, some notables including
 Patton Miller, Thomas Cardone, and an upcoming exhibition for Joseph Chierchio, starting on July 4. "I think it's important as a gallery owner," Kalaher says, "to show the work of the local people. There is a fraternity of artists on the East End, and great light out here that artists love. There's a lot of great work being produced." 

For more information on Nahum Tschacbasov, Joseph Chierchio, or Arthur T. Kalaher Fine Art, email Arthur T. Kalaher Fine Art is located at 197 Madison Street, Sag Harbor,
            941-993-3737      ; and 28E Jobs Lane, Southampton,             631-204-0383      .


Updated: June 2, 2011, 8:53 pm
Appeared In: the arts >> in the galleries


SOUTHAMPTON, NY, November 26, 2011 – The Arthur T. Kalaher Fine Art Gallery will host an opening reception for two acclaimed artists – Andrew Hart Adler and Carolyn Beegan.  These two acclaimed artists working together have created a body of abstract expressionist work including the use of digital imaging that makes for a new and striking artistic experience.  Paintings from their most recent series will be on display at the opening reception on Nov 26th from 4PM to 8PM at our Southampton gallery location.  Please join us for refreshments and the opportunity to meet these two exceptionally talented artists on Thanksgiving weekend. For additional information please contact us at 631 204 0383 or e-mail:

Andrew Hart Adler
Adler, having worked with Willem DeKooning in the 70’s, is known primarily as an Abstract Expressionist. For the past thirty years, his work has been popular on both sides of the Atlantic. His paintings are represented in museums and corporate collections in Europe and in the United States including: Georges Pompidou, Ackland Art Center, Musee Canavalese, Landeshausparkasse Munchen, Dresden Bank, Mittel Milano, Albert D. Lasker Collection, Hypobayerische Vereinsbank, Nasher Museum of Art (Duke University), American Can Co., American Ultramar, Brean Murray, Inc., the Carnegie Group, Wagner College, Prudential Bache, Bayer Chemical AG, Musee d’Art Moderne, Ceret. Adler is the son of famed Broadway composer, Richard Adler.

Carolyn Beegan
A much-respected figure in the New York art community, Carolyn Beegan is known both as an oil painter and as a specialist in digital imaging. She has exhibited principally in the U.S. and has her work included in numerous private collections of note, including those of John Eastman, Don Henley, Elton John, James Kramer, Ron Delsener, Billy Joel and art dealer Larry Gagosian.