![Zilia Sánchez Furia II [Fury II], 1972 Ink on paper 25 ½ x 20 in (64.8 x 50.8 cm) Framed: 29 x 23 ⅛ x 1 ⅝ in (73.7 x 58.7 x 4.1 cm) (GL9173)](https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/57eac8ed87aa2c6e4b7d0574/a02d7390e8fe06058d3180ef3fbf0c85.jpeg)
Estate of Sarah Grilo
Sarah Grilo
Graffiti sobre ocre, 1992
Oil on canvas
55 ½ x 57 ⅛ in (141 x 145 cm)
Framed: 58 x 56 x 2 in (147.3 x 142.2 x 5.1 cm)
(GL16217)
Sarah Grilo
Sin título, 1998
Oil on paper
19 ¾ x 27 ½ in (50 x 70 cm)
Framed: 22 x 29 ½ x 2 in (55.9 x 74.9 x 5.1 cm)
(GL16218)
Sarah Grilo
Sin título, 1998
Oil on paper
19 ¾ x 27 ½ in (50 x 70 cm)
Framed: 22 x 29 ½ x 2 in (55.9 x 74.9 x 5.1 cm)
(GL16226)
Sarah Grilo
TME, c. 1970s
Oil on canvas
53 ½ x 54 in (136 x 137 cm)
Framed: 52 x 52 x 2 in (132.1 x 132.1 x 5.1 cm)
(GL16220)
Ana Mendieta
Untitled (Cosmetic Facial Variations), 1972 / 1997
Suite of four color photographs
Each: 16 x 20 inches (40.6 x 50.8 cm)
Three, framed: 25 ¾ x 18 ½ x 1 ¾ in (65.4 x 47 x 4.4 cm)
One, framed: 19 ⅜ x 25 x 1 ¾ in (49.2 x 63.5 x 4.4 cm)
Edition of 10 with 3 AP
(GP0645)
Ana Mendieta
Untitled, 1981 / 2019
Color photograph
20 x 16 inches (50.8 x 40.6 cm)
Framed: 30 ⅝ x 24 x 1 ½ in (77.8 x 61 x 3.8 cm)
Edition 6 of 10 with 3 AP
(GP2575)
Zilia Sánchez
Sin titulo, 1971
Acrylic on stretched canvas
21 ¾ x 25 ⅝ x 7 ⅛ in (55.2 x 65 x 18 cm)
(GL16098)
Zilia Sánchez
Lunar Blanco, 2000 / 2019
Marble
Top: 37 x 48 ¾ x 19 ¾ in (94 x 124 x 50 cm)
Base: 21 ¾ x 28 ¼ x 15 ⅞ in (55.4 x 71.9 x 40.4 cm)
Overall: 58 ½ x 48 ¾ x 19 ¾ in (148.6 x 124 x 50 cm)
Edition of 2 plus 1 artist's proof (#2/2)
(GP2609)
Zilia Sánchez
Concepto I, 2019
Bronze, paint
24 x 5 x 6 ⅝ in (61 x 12.7 x 16.8 cm) each
30 pounds each
Edition of 5 with 2 AP (#2/5)
(GP2598)
Zilia Sánchez
Furia II [Fury II], 1972
Ink on paper
25 ½ x 20 in (64.8 x 50.8 cm)
Framed: 29 x 23 ⅛ x 1 ⅝ in (73.7 x 58.7 x 4.1 cm)
(GL9173)
Galerie Lelong & Co., New York is pleased to participate in Frieze Los Angeles 2024 with a presentation of works by Latin-American artists Sarah Grilo, Ana Mendieta, and Zilia Sánchez. Grilo and Sánchez both left their native countries in the early 1960s, finding opportunities to develop their artistic practices in New York and Europe before settling permanently in Madrid, Spain and San Juan, Puerto Rico, respectively. In parallel, Grilo and Sánchez refined unique visual languages, exceptional examples of which will be on view at our booth. Ana Mendieta was exiled from Cuba to the United States at just twelve years old and rose to prominence as a New York-based artist in the 1980s; an early work on view at the booth exemplifies the artist’s innovative use of her body which would form a throughline in her later works.
A selection of paintings by Sarah Grilo—whose first exhibition with the gallery, Sarah Grilo: The New York Years 1962-70, is currently on view in New York—will be presented at our booth. Largely monochromatic and accented by bolts of vibrancy representative of Grilo’s distinct handling of color, the paintings are populated by an assimilation of language. Grilo’s unique fusion of language and abstraction emerged in the 1960s when she began sourcing passages from U.S. print media such as LIFE and women’s magazines using transfer techniques. Works on view from the ensuing decades see the artist favor freehand renderings of text, demonstrating Grilo’s intuitive, expressive approach to painting.
On view at our booth will be an early and rarely exhibited work by Ana Mendieta. Untitled (Cosmetic Facial Variations) from 1972 is a photographic suite of four color photographs that the artist made as a graduate student in the University of Iowa’s pioneering Intermedia program. In
this performative act, Mendieta distorted her appearance with shampoo suds on her own hair, using her body to explore issues of self-representation and female identity. This work belongs to a series in which the artist engaged the idea of transformation using hair, cosmetics, and wigs, with only the camera as her audience. A major solo exhibition, Ana Mendieta: Search for Origin, is currently on view at MUSAC, Museo de Arte Contemporáneo de Castilla y León, Spain, having travelled from MO.CO Montpellier Contemporain, France. The exhibition brings together over one hundred works made between 1968 and 1985, including a dozen works that have never been exhibited.
A selection of sculptures by Sánchez rendered at varying scales in bronze and marble will also be on view, complemented by a historic painting and work on paper. The painting, rendered in acrylic on canvas stretched over hand-molded wooden armatures, is demonstrative of the shaped canvases for which Sánchez is best known. A pair of sculptures on view see the curves that define Sánchez’s paintings translated into free-standing three dimensional forms. The works on view demonstrate the continued development of the unique, sensual visual vocabulary at the core of Sánchez’s practice. Across mediums, scales, and decades, undulating silhouettes in a muted palette become a common thread through the artist’s oeuvre. Sánchez has been invited to 60th International Art Exhibition of La Biennale di Venezia curated by Adriano Pedrosa, opening in April 2024. Concurrently, a solo exhibition by the artist, Zilia Sánchez: Topologías / Topologies, will be on view at ICA Miami, Florida.
