Etel Adnan
Morning, 2019
Ceramic
63 x 78.7 inches (160 x 200 cm)
GL14598 / W21887
Etel Adnan
Planète 11, 2020
Oil on canvas
13 x 8.7 inches (33 x 22 cm)
McArthur Binion
DNA: Sepia: II, 2016
Oil paint stick, sepia ink, and paper on board
96 x 72 inches (243.8 x 182.9 cm)
GL10717
Over the course of a career spanning more than 40 years, McArthur Binion has cultivated a unique visual style that involves building an “under conscious” to his paintings with repetitious photocopies of private documents such as his birth certificate and his hand-written address book. DNA: Sepia: II, 2016 is from the artist’s seminal DNA series and follows the Seasons and DNA paintings. Binion looked to introduce a third element and when he laid the sepia ink on top of the under conscious of the painting, he discovered an alchemic response of colors.
Leonardo Drew
Number 245, 2020
Wood and paint
64 x 61 x 14 inches (162.6 x 154.9 x 35.6 cm)
GL14520
Leonardo Drew assembled and painted scraps of wood he ripped and splintered from new boards to create Number 245. The composition developed through an additive process and expresses a restless, driving visual energy. Several elements give the idea of exploding up and away from the edge, disrupting the grid and rupturing the connection to the otherwise densely detailed body.
Ficre Ghebreyesus
Angel Musician, 2011
Acrylic on canvas
Diptych; each: 20 x 20 inches (50.8 x 50.8 cm)
22.3 x 42.3 x 2 inches (56.6 x 107.4 x 5 cm) (framed)
GL13627
In this lyrical, late diptych by Ghebreyesus, angels and musicians swirl against one of the brightly colored checkerboards signature to his painting. The work celebrates the artist’s own study of guitar along with the many other music genres and instruments that inspired him. The angels recall the visual language of the Coptic Christian Church of his childhood in Eritrea.
Samuel Levi Jones
House of Leaves, 2020
Portfolio on canvas
50 x 50 inches (127 x 127 cm)
52 x 52 inches (132 x 132 cm) (framed)
GL14336
In Heart of Leaves, Jones deconstructs vintage portfolios once used to hold art prints and reconfigures them, reflecting on an international conversation on dramatic shifts in the art canon and contemporary art-making practices. Threads are left hanging, evoking our vulnerability as humans and histories unresolved.
Ana Mendieta
Flower Person, Flower Body, 1975 / 2020
Color photograph
16 x 20 inches (40.6 x 50.8 cm)
Edition of 10 + 3AP
GP2651
Presented at Art Basel 2020 for the first time, this photograph depicts a silueta (silhouette) of flowers lying on a raft fashioned from cloth and branches and floating at the edge of a creek. Mendieta also recorded this work in moving image, and the film reveals that she then sent the figure downstream. This work is one of several in which the artist used flowers as material during the 1970s. Flower Person, Flower Body is newly printed by the Estate of Ana Mendieta.
Please click here for further information about the artist
Jaume Plensa
L'écrivain prisonnier, 2019
Wool tapestry
80.7 x 57.1 inches (205 x 145 cm)
GP2657.2 / W22101
Edition of 3
Zilia Sánchez
Conexión [Connection], 1999 / 2018
Acrylic on stretched canvas
46.75 x 76.75 x 13 inches
(118.7 x 194.9 x 33 cm)
GL12737
Conexión [Connection] (1999/2018) was created in Sánchez’s signature style of stretching canvas over hand-molded wooden armatures. Evocative of both human and natural landscapes, Conexion imbues painting with sculptural and architectural sensitivity. The work was included in Sánchez’s most recent solo exhibition Eros, presented at Galerie Lelong & Co, New York from November 21, 2019 – January 17, 2020.
Kate Shepherd
YellOw, 2020
Enamel on panel
52 x 46 inches (132.1 x 116.8 cm)
GL14486
(Photographed with reflections)
YellOw is from Shepherd’s most recent body of work which examines chromatic trapezoids that cut through the picture plane. These shapes—which the artist calls “surrogate paintings”—function as architectonic premises, delineating volume and the space between them. Shepherd defines these forms through difference in textures, rather than with her signature fine lines and continues to chart new territory in her decades-long exploration of perspectival space.
Juan Uslé
Soñé que revelabas (Bravo), 2020
Vinyl dispersion and dry pigment on canvas
120.08 x 89.76 inches (305 x 228 cm)
GL14562
Soñé que revelabas (Bravo) belongs to Uslé’s best-known family of works, which originated in 1997 and is ongoing. The systematic brushstrokes that fill the painting’s surface are guided by the artist’s pulse, serving as a transcript of real time through a filmstrip-like recording of the artist’s own heartbeat. The painting, as material and action, also incites reflection on geographical borders. Soñé que revelabas (Bravo) references Río Bravo, one of the natural boundaries between Mexico and the United States.
Barthélémy Toguo
All the Things You Could Be By Now, 2016
Ink and acrylic on canvas
78.7 x 78.7 inches (200 x 200 cm)
80 x 80 x 2.75 inches (203.2 x 203.2 x 7 cm) (framed)
GL14601 / W19694
Galerie Lelong & Co. (Paris and New York)
“An Unexpected Spring”
Click here to enter our Art Basel Online Viewing Room
“An Unexpected Spring” (“un Printemps Inattendu”), the title of a book by Etel Adnan recently published by Galerie Lelong & Co., gathers interviews of the Lebanese-American poet and artist from the past decades. The title refers in Adnan’s own words to the mystery of poetic creation, but now also echoes how the current global pandemic has brought so much uncertainty to our lives. As much of the world’s population remains in their homes, our artists have used this period to further investigate their practices during these extraordinary times.
In March from his house in Normandy, David Hockney said "Do remember they can't cancel the Spring" in an iPad drawing he shared with the National Portrait Gallery in London. This expression of hope immediately spread through the many social networks that we have always used for connection but now more so than just four months ago. Leonardo Drew, who lives above his studio, continues to make work that plays upon a tension between order and chaos.
These two descriptive words embody a sentiment many of us currently feel as we orderly follow guidelines to a safer future while wondering when the chaos will end. Spring can't be cancelled, and artists can't stop creating. We are proud to show here a selection of works, some of them recently completed, that we wish could be on view at Art Basel.
Galerie Lelong & Co. (Paris and New York) are delighted to announce our participation in Art Basel’s second iteration of Online Viewing Rooms, a digital platform designed to connect galleries and collectors from around the world.
Our Viewing Room will feature works by Etel Adnan, Pierre Alechinsky, Leonardo Drew, Günther Förg, Ficre Ghebreyesus, David Hockney, Samuel Levi Jones, Ana Mendieta, Nancy Spero, Hélio Oiticica, Jaume Plensa, Zilia Sánchez, Kate Shepherd, Antoni Tàpies, Juan Uslé and Fabienne Verdier.
Art Basel’s Online Viewing Rooms will open with a VIP Preview from June 17, 7am EST to June 19, 7am EST, followed by Public days through June 26, 7am EST.
![Zilia Sánchez Conexión [Connection], 1999 / 2018 Acrylic on stretched canvas 46.75 x 76.75 x 13 inches (118.7 x 194.9 x 33 cm) GL12737](https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/57eac8ed87aa2c6e4b7d0574/716628c0fc6045fd7b50a0ba7c5f3ff7.jpeg)
