Foregrounding narratives of oceanic migration, Ghebreyesus’s paintings radiate power and serenity in vibrant shades of blue.
These men and women are our dreams, manifesting a grace that the rest of us lack — a grace we expect to stay aloft, in the air.
At Galerie Lelong, one of China’s most celebrated contemporary artists covers the floor with a three-inch-thick carpet literally woven out of dozens of words for “woman.”
Originally made for the 2007 Venice Biennale, the artist’s “Maypole: Take No Prisoners” manifests the spectacle of violence and war.
Women artists are ubiquitous at the most august of the week’s art fairs, from canonical figures like Lee Krasner and Lee Bontecou to lesser-known figures like Zilia Sánchez and Evelyn Statsinger.
Samuel Levi Jones uses books to raise questions about how history is remade and repurposed for the present and future.
This list barely scratches the surface of the city’s artistic offerings this year, from overdue retrospectives to surprising sides of artists we know well.
Two Chelsea galleries are simultaneously hosting the same audience-activated Yoko Ono pieces, with collaborative mending of shattered ceramic, sketching of an infinite line, and contemplating river rocks.
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.
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.
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.
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.