Alan Steele

Alan Steele was born in Caracas, Venezuela, grew up in Rio de Janeiro, Brazil and received his BFA from the School of Visual Arts and MFA from Rhode Island School of Design. He was influenced early on by many of his Bowery contemporaries working as the studio assistant for Tom Wesselmann, Will Insley, and Charles Hinman, as well as working as an art handler for Ileana Sonnabend Gallery. He has lived and worked on the Bowery for over four decades. 

Steele’s work has been exhibited internationally and is part of numerous public, corporate, and private 
collections including Bell Atlantic, Washington D.C., Werner Kramarsky, NYC, Cy Newhouse, NYC, Carlo Bella, NYC, Tom Wesselmann, NYC, Jerome Stern, NYC, John Weber, NYC, and Michelle Tillou, NYC. He is also a curator of South American and African Tribal art and has guest curated shows at Betty Cuningham Gallery, the Guggenheim Museum of Art, New York, and more.


History finds much of its substance in created objects. Any theory of knowledge which excludes artifacts also excludes history, and leaves out a fundamental and basic understanding of the objects and their attachment to tradition, culture and geography. An anthropologist does not come upon a person until he discovers the artifact, a revelation of local control, something done at a specific place and time. Find an artifact and you encounter a person; find a stone and you do not.

My initial idea was to create a map that would set before me an ordered totality so that ideas and concepts, which are finite and particular, may have a setting in an infinity. In this way local control, preplanning and decisions can be manifested and articulated. This map serves as a yardstick, that by process and its repeated use in measuring would generate a continuum of ideas. Thus, the work would be free to move in an unlimited extension toward the infinite. Allowing ideas to be interpreted in any media, and any dimension. 

The current state of the work has grown into a knowledgeable witness, since its original inception, the evolution of the work has taken on a life of its own. Much of the current process still develops by the process taking it apart and reassembling it. In this way unusual questions can be addressed, lending itself to resolving ideas in drawings, works on paper and fabricated works. Much of the preliminary work is contingent on the fabricated pieces. Though many of the ideas that are worked out beforehand that are developed in the drawings that can be so complex, and that are so contingent on the fabricated pieces or installations they gloss, giving the opportunity to clarify some of those complex issues that they reveal. 

The process is like a circular investigation, the end and the beginning are reciprocal. The work has its own genealogy. The past work exerts its influence on the new work, the new work self-references the past. In this way I wanted to reconcile spontaneity and discipline as two elements in my work. Any ordered totality, sustained only by the process, would be equivalent to what one applies one’s own mind to. Its maintenance and extension are equivalent to what one could mean by one's will.




2016 - Adah Rose Gallery Kensington, MA, The Impulse for Keeping A Record, November 3 to January 15, 2017
2014 - Adah Rose Gallery Kensington, MA, Symmetry and Stillness, October 2 to November 9, 2015
2005 - Saint Peter's Church NYC, October 7 to November 14
2005 - Project GRAD NYC, Works on Paper, Curated by Michelle Tillou
1995 - Frank Gabriel NYC, Architectural Installation
1994 - Frank Gabriel NYC, Architectural Installation
1993 - Frank Gabriel NYC, Architectural Installation
1992 - Frank Gabriel NYC, Architectural Installation
1988 - John Weber Gallery NYC



2019 - Lichtundfire Gallery, New York, INFINITE RHIZOME-Endless Plateaus of Interconnectivity, April 10 – May 5, 2019
2019 - Studio Gallery, Washington DC, Carte Blanche, Curated by Adah Rose Bitterbaum, January 9 2018 -  February 2 2019
2018 - Lichtundfire Gallery New York, NY, MINIMAL EFFECT, October 3-2018 to November 4-2018
2017 - Lichtundfire Gallery New York, NY, Past as Prologue, or The Effect of Modernism on Contemporary Art, December 21-2017 to January 21-2018
2017 - Martha’s Vineyard Midsummer Fine Art Fair, July 14th - 16th, Tashmoo Waterworks Building, Martha’s Vineyard
2016 - The Impulse of Keeping a Record, Brian Dupont - Alan Steele, November 13 2016 - January 5 2017, Adah Rose Gallery MA
2016 - Traces of Minimalism, Hamburg, Germany, Heliumcowboy Artspace
2016 - Pulse New York, Adah Rose Gallery MA, 
2015 - Context/Art Miami, Adah Rose Gallery
2015 - Art Miami New York, Adah Rose Gallery MA

2014 - Silicon Valley Art Fair CA, Adah Rose Gallery MA
2014 - Pulse New York, Adah Rose Gallery MA
2014 - Laroche Joncas Montreal
2014 - POP UP IN PARIS, Galerie du Haut Pavee Paris 
2014 - Adah Rose Gallery MA
2013 - Pulse New York, Adah Rose Gallery MA 
2013 - Peanut Underground Gallery NYC
2012 - Kinz Tillou Fine Art NYC
2012 - QF Gallery Summer Group Show East Hampton
2012 - Kinz Tillou Fine Art NYC, Indian Summer
2010 - Dorian Grey Gallery NYC
2005 - (December) International Contemporary Art, Florence Biennale Italy
2001 - Jane Voorhees Zimerli Art Museum Rutgers, NJ, From Whistler to Warhol, Century of American Printmaking, Boxed In, Plane, Frame, Surface
1999 - Nabisco Gallery NJ
1998 - Tenri Gallery NYC
1998 - Jorgensen Gallery NYC
1996 - Jorgensen Gallery NYC
1995 - T. A. G. Space NYC
1995 - Arttax Gallery NYC, F. A. C. T. Fashion Architecture Culture Technology, Robert Dane, Mark Seinkman, R. M. Fischer, N. A. S. A., Alan Steele, Thomas Lesser
1995 - Arttrax Gallery NYC, FUNC-A-TECH-TURE, Woodman, Berg, Holzphel, Fischer, Steele, Griffin
1990 - Jane Voorhees Zimmerli Art Museum Rutgers, NJ, Surface Printing In The 1980’s: Lithography, Screenprints And Monotypes From The Rutgers, Archives For Printmaking Studios
1987 - A. L. G. O. Gallery NYC, TEN PACK in collaboration with Mission Gallery NYC
1987 - John Good Gallery NYC, RIGOR Curated by Stephen Westfall
1987 - White Columns NYC
1986 - John Weber Gallery NYC, ADMIRED WORKS Curated by John Weber, Allen, Deutsch, Dona, Ewing, Fischer, Fischer, Halley, Keister, Kirili, Koons, Kruger, Steele
1986 - Grace Borgenicht Gallery NYC, ABSTRACTION
1984 - Artist Space NYC, Inaugural Show Curated by Will Insley
1984 - Marian Goodman Gallery NYC, Richard Artschwager, Daniel Christian, John Chamberlain, Sol Lewitt, Allan McCollum, Cleas Oldenburg, Alan Steele, Marybeth Welch
1984 - Facchetti Gallery NYC
1974 - The Aldrich Museum of Contemporary Art Ridgefield, CONN, Third Annual Contemporary Reflections
1973 - Bykert Gallery NYC
1971 - Woods Gallery Rhode Island School of Design
1969 - Avanti Gallery NYC
1969 - School of Visual Arts Gallery NYC





> The Sunday Washington Post January 27 2019
> The Sunday Washington Post January 5 2017
> WILD September 20, 2014
> The Sunday Washington Post October 13, 2014
> Catalogue, Alan Steele February 7 2015, Adah Rose Gallery
> Artist Space, September 29, 1984, Curated by Will Insley
> 108 An East Village Review #7, 1987, TEN PACK A. L. G. O. Gallery, Catsou Roberts
> 108 An East Village Review #7, 1987, RIGOR John Good Gallery, James Meyer
> Le Democrat May 29, 1993 (Swiss Publication), REPERES: Arts Plastique A New York: Une Toute Autre > Realite, Bernadette Richard
> Cooperation #29 July 22, 1993 (Swiss Publication), Art A New York, Un Combat Quotidien, Bernadette Richard
> Act And Necessity, 1993, James Shaftland
> Physicians Vol 4 #8, August 1992, At Auction Are Bad Times Good For Collectors? Mel Wathen
> Reservoir Music RSR CD 148, 1997
> Total Business, October-November 2003 (English Publication), Emblems of Power, Alan Steele
> Total Business, June-July 2003, The Right Formula For A Successful Collection, Alan Steele
> The Catalogue of Antiques & Fine Art, Autumn 2004, Emblems of Power, Alan Steele



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