Galerie Lelong

Post image for Recovering Abstraction: McArthur Binion’s Intimate Grids

McArthur Binion’s exhibition, Re: Mine, currently at Galerie Lelong stirred up a swarm of associations while I was looking at it, and the buzz did not die down after I left the gallery and decided to walk home amidst the late afternoon din of Manhattan traffic and people in a rush to get home.

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Post image for Politicized Artworks That Ask Viewers to Fill In the Unknowns

Two years ago, at a Cildo Meireles retrospective in Madrid, I sat on a wooden dock that overlooked a paper sea and a vast, blue plaster sky.

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Post image for Lively Artworks That Make Room for the Mind

There is this one particular color of paint that appears in many of the paintings by Etel Adnan on view right now at Galerie Lelong in New York.

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Post image for The Limits of Shedding Light on Grief

Anguished, powerful, and problematic as they are, there is a heavy bar to what images of war and suffering can do, and what they can carry beyond cynicism, voyeurism, or spectacle.

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Ursula von Rydingsvard, “Bent Lace” (2014)

In a video produced by Art 21, Ursula von Rydingsvard recalls her childhood in refugee camps after World War II, living in barracks made of “raw wooden floors, raw wooden walls, and raw wooden ceilings.” Her current show at Galerie Lelong, Permeated Shield, is the first solo of her long career with a title that alludes at least indirectly to warfare.

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Sarah Cain’s Girl Power Paintings

by Cynthia Cruz on February 26, 2014

Post image for Sarah Cain’s Girl Power Paintings

Walking into Sarah Cain’s current show, Burning Bush, at Gallerie Lelong is to be restored.

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Post image for Dispatches from Hell: Nancy Spero’s Cruel Beauty

Nancy Spero died in 2009 at the age of 83. The current exhibition of her hand-printed collages from the 1980s and 1990s, From Victimage to Liberation, at Galerie Lelong in Chelsea, is the first show in New York to focus on her work since her death.

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Post image for 26th Street Courts the Masses with a Block Party

In unofficial conjunction with the inauguration of Frieze New York on Randall’s Island, the galleries on Chelsea’s 26th Street decided to go big and throw a block party last Saturday. If there is one kind of party that galleries excel at, it’s glamorous and exclusive after-hours functions, on a rooftop suite somewhere far above the streets of Chelsea; if there’s one area where galleries are found unanimously wanting, it’s dealing with the public, with “regular” people, the viewers who venture through their doors simply to look and not to buy. Considering this, it was surprising and encouraging to see high-end Chelsea galleries reaching out, in a coordinated effort, to the art-going public.

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Post image for How Do You Show Performance Art? Ana Mendieta vs Marina Abramović

We’re approaching a pivotal point in the progress of performance art in which the once rogue medium is becoming canonized, institutionalized and historicized. If the epic Marina Abramović retrospective at MoMA, The Artist is Present, wasn’t enough to convince you that the early group of performance artists are becoming anointed saints, the recent retrospective at Galerie Lelong of the late Ana Mendieta is another step forward. Yet the two exhibitions present parallel methods of exhibiting historical performance art, the first focused on recreating performances, the second on exhibiting artifacts. I see the latter Mendieta exhibition, Documentation and Artwork, 1972 – 1985, as the far more succesful.

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