Skip to content

Frieze New York

Stand D01

May 2 – 5, 2019

Sarah Cain, rolling tides, abstract painting

Sarah Cain

rolling tides, 2019

Sand, acrylic, plastic thread, gel medium and paint rollers on canvas

60 x 48 x 4 inches (152.4 x 121.9 x 10.2 cm)

Sarah Cain, the new era, abstract painting

Sarah Cain

the new era, 2019

Imitation silver leaf, beads, thread, acrylic, gel medium, water based spray paint, and gouache on canvas with fringed canvas overlay

66 x 33.5 x 4 inches (167.6 x 85.1 x 10.2 cm)

Sarah Cain lock down, 2018

Sarah Cain
lock down, 2018
Acrylic, bike lock, and beads on canvas
61.5 x 50 x 4 inches (156.2 x 127 x 10.2 cm)

Alfredo Jaar Teach Us To Outgrow Our Madness, 1995 / 2019

Alfredo Jaar
Teach Us To Outgrow Our Madness, 1995 / 2019
Neon
100.5 x 78.75 inches (255 x 200 cm)

Barthélémy Toguo Exodus, 2019

Barthélémy Toguo
Exodus, 2019
Bicycle, trailer, fabric, plastic jugs, broom
72 x 152 x 64 inches (182.9 x 386.1 x 162.6 cm)

Press Release

MAIN BOOTH: SARAH CAIN, ALFREDO JAAR, BARTHÉLÉMY TOGUO
Stand D01
May 2 – 5, 2019

FRIEZE SCULPTURE: JAUME PLENSA
Rockefeller Center
April 25 – June 28, 2019

Galerie Lelong & Co. and Richard Gray Gallery are thrilled to announce the international debut of Jaume Plensa’s Behind the Walls, a monumental new sculpture to be installed at the historic Rockefeller Center on 5th Avenue in New York. Standing over 24 feet tall, Behind the Walls will be unveiled in April 2019 as part of Frieze New York’s inaugural sculpture program, Frieze Sculpture.

DIALOGOS: ANA MENDIETA
Stand DLG10
May 2 – 5, 2019

In celebration of El Museo del Barrio’s 50th anniversary, Patrick Charpenel (Executive Director, El Museo del Barrio) and Susanna V. Temkin (Curator, El Museo del Barrio) present a themed section focusing on art by contemporary Latinx and Latin American artists.

Born in Havana, Ana Mendieta was sent to the United States as a child to escape political turmoil following the Cuban Revolution. Throughout her career, Mendieta expressed feeling “torn” from her homeland. Memories of this displacement, along with a deep yearning for belonging, form the overarching themes of the works on view in the booth as well as in her practice more broadly. The featured film and photographs were made during Mendieta’s examinations of adopted and original homelands that held personal significance: Burial Pyramid (1974) in Mexico, Volcán (1979) in Iowa, and selections from the Esculturas Rupestres series (1981) in Cuba.

Back To Top