Glenn Adamson

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Why generations of students at Cranbrook have made the pilgrimage to Bob & Hazel’s Ceramics in Pontiac, Michigan

BY Glenn Adamson | 22 MAR 20

New work on view at Lévy Gorvy proves that the artist, nearing 90, is at the top of his game

BY Glenn Adamson | 15 NOV 19

A new gallery, dieFirma, opens in Cooper Square, New York, with an important presentation of an overlooked artist whose work spanned furniture to flowers

BY Glenn Adamson | 17 OCT 19

At The Bass, Miami, the 85-year-old fibre art pioneer continues to push the boundaries of her medium

BY Glenn Adamson | 16 APR 19

The controversial addition to Manhattan’s west side is emblematic of the triumph of digital spectacle over real experience

BY Glenn Adamson | 27 MAR 19

Has the great designer lost sight of what it means to make things that matter?

BY Glenn Adamson | 25 JAN 19

The New York department store honours a longstanding relationship between contemporary art and window dressing

BY Glenn Adamson | 10 DEC 18

Ahead of his first solo in the UK, why the late California-based sculptor’s material sensibility and countercultural ideals deserve reappraisal

BY Glenn Adamson | 03 SEP 18

Alongside a centuries-old collection of Old Masters, Delftware and Chinoiserie, the Devonshires continue to commission contemporary art 

BY Glenn Adamson | 15 AUG 18

The artist shows a muscular blend of figuration and abstraction at Galerie Lelong & Co., New York, and Philadelphia Fabric Workshop and Museum

BY Glenn Adamson | 23 JUL 18

A distinctively American artist who, along with four neighbourhood contemporaries, changed the course of US painting forever

BY Glenn Adamson | 30 MAY 18

With ‘David Bowie Is’ at the Brooklyn Museum of Art, Glenn Adamson on the evolution of the music video – a genre Bowie ‘essentially invented’

BY Glenn Adamson | 05 APR 18

Tiffany & Co.’s new range of gift objects and the shifting meaning of the ‘everyday’

BY Glenn Adamson | 04 DEC 17

What simulations tell us about the real world 

BY Glenn Adamson | 12 SEP 17