The Armory Show

Booth 604

March 7 – 11, 2018

Ana Mendieta

Untitled: Silueta Series, 1979

Lifetime color photograph

20 x 13.25 inches (50.8 x 33.7 cm)

Sarah Cain
sky and sea, 2017
Acrylic, beads, mirror and nylon thread on canvas
90 x 60 inches (228.6 x 152.4 cm)

Alfredo Jaar
A Logo for America (detail), 1987/2014
Five black and white pigment prints
36 x 36 inches (91.4 x 91.4 cm) each
Edition of 6 + 3 APs

Yoko Ono
Cleaning Piece, 1966 / 1988
Bronze
6.25 x 15 x 10 inches (15.9 x 38.1 x 25.4 cm)
Edition of 9 + 2 AP

Jaume Plensa
Duna's Dream, 2015
Bronze
83 x 29.5 x 27.5 inches (211 x 75 x 70 cm)
Edition of 5

Zilia Sánchez
Topología (de la serie Azul azul), 2015
[Topology (of the Blue Blue series)]
Acrylic on stretched canvas
34.5 x 60.5 x 12 inches (87.6 x 153.7 x 30.5 cm)

Carolee Schneemann
Evaporation - 3 pm, 1974 / 2017-18
Hand-colored inkjet print
38 x 28 inches (96.5 x 71.1 cm)

Kate Shepherd
Selfie, 2017
Enamel on panels
68 x 44 inches (172.7 x 111.8 cm)

Mildred Thompson
String Theory 11, 1999
Acrylic on vinyl
48 x 60 inches (121.9 x 152.4 cm)

Press Release

Galerie Lelong & Co. is pleased to present at the 2018 Armory Show with a selection of work by Sarah Cain, Günther Förg, Alfredo Jaar, Ana Mendieta, Yoko Ono, Jaume Plensa, Zilia Sánchez, Carolee Schneemann, Kate Shepherd, and Mildred Thompson.

Booth highlights include a new painting by Sarah Cain, who explores abstraction and spatial interventions in a wide range of media to paint beyond the frame. Cain will also present the large-scale installation two day painting as part of the 2018 Armory Show’s Platforms presentation, which can be found at the Pier 94 entryway. Embracing chance and spontaneity, Cain will create the installation over several days. Central to the booth will be Jaume Plensa’s Duna’s Dream (2015), a large-scale sculpture that is simultaneously a portrait of a dreamer and an expression of dreaming.

Historical works on display by Alfredo Jaar, Ana Mendieta, Yoko Ono, and Carolee Schneemannembody the immediacy of their times and continue to bear relevance today as potent sociopolitical messages. Carolee Schneemann’s photographs combine her body with the landscape and her own paintings, reclaiming female agency and asserting that woman can indeed be both image and image-maker. 

Schneemann continues to explore feminist themes in new works completed in 2017/18, which will also be on view for the first time. A major retrospective, Carolee Schneemann: KINETIC PAINTING, is on view at MoMA PS1 through March 11. Ana Mendieta also inscribed her own body within the landscape in her Silueta series. Alfredo Jaar’s A Logo for America (1987/2018), originally installed in the middle of Times Square, questioned US supremacy over the American continent. Yoko Ono’s Cleaning Piece (1966/1988) instructs viewers to transform the conceptual thought of cleaning into a poetic action.

Additional artists exploring new avenues for abstraction include Kate Shepherd, who will present a new painting that continues her investigations of the spatial complexity within reflective surfaces. A painting from Zilia Sánchez’s Topología series highlights the unique visual vocabulary that she developed over the last 60 years while highlighting the importance of topology in her practice. Günther Förg’s multidisciplinary practice has explored the history of Modernism while incorporating formal concerns; a painting from 2004 will be on view. Mildred Thompson’s vibrantly emotive paintings, inspired by scientific theory and music, will concurrently be on view both in The Amory Show booth and in the exhibition at Galerie Lelong & Co., Radiation Explorations and Magnetic Fields, through March 31.

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