Etel Adnan
Vertige, 2020
Signed recto
Etching
15 x 17.5 inches (38 x 45.5 cm)
Framed: 17.5 x 20.5 x 1.75 inches (44.5 x 52.1 x 4.4 cm)
Edition of 35
(GP2723)
Galerie Lelong & Co. is pleased to present Summer Picks. This online viewing room explores selected works from our current in gallery exhibition: New Prints and Editions. In addition, the room features current and recent museum presentations by each of the six artists.
Etel Adnan
Vertige, 2020
Signed recto
Etching
15 x 17.5 inches (38 x 45.5 cm)
Framed: 17.5 x 20.5 x 1.75 inches (44.5 x 52.1 x 4.4 cm)
Edition of 35
(GP2723)
Leonardo Drew
Number 65P, 2017
Pigmented and cast handmade paper with hand applied pigment
13 x 12.5 inches (33 x 31.8 cm)
Framed: 16.75 x 15.25 inches (42.5 x 38.7 cm)
Edition of 10
(GP2712)
Samuel Levi Jones
Water and Air, 2018
Flatbite and color aquatint
65.5 x 65 inches (166.4 x 165.1 cm)
Framed: 73 x 73.25 x 2 inches (185.4 x 186.1 x 5.1 cm)
Edition of 25
(GP2714)
Jaume Plensa
Aura I, 2020
Digital print
39.4 x 27.5 inches (100 x 70 cm)
Framed: 43.5 x 31.5 x 2 inches (110.5 x 80 x 5.1 cm)
Edition of 30
(GP2718)
Installation view of Etel Adnan's works in New Prints and Editions, Galerie Lelong & Co., New York, July 8 - August 13, 2021.
Etel Adnan, Vertige, 2020. Signed recto, etching. 15 x 17.5 inches (38 x 45.5 cm). Edition of 35.
ETEL ADNAN
The master colorist Etel Adnan (b. 1925, Beirut, Lebanon) first began exploring printmaking in 2014 with the support of Galerie Lelong Editions. Speaking about her color engravings, Adnan remarked at the time: “I based the compositions on paintings, but modified the proportions and used different color combinations so
that, by the end, I had created original etchings that said something entirely different from the paintings, which nonetheless lent their energy to these new works.” Accompanying the etchings is a tapestry by Adnan, achieved with the historic Aubusson atelier PINTON. Read more.
Installation view: Etel Adnan, Impossible Homecoming, Pera Museum, Istanbul (April 6 – August 8, 2021).
ONGOING EXHIBITION
Impossible Homecoming is a retrospective exhibition of artist and poet Etel Adnan, whose life has spanned nearly a century.Etel Adnan’s interpretation of the physical world surrounding her is natural – her unique abstract landscapes and the works that deal with subjects such as mountains, color, writing, memory, and time are the results of the fragile and dynamic relationship she has forged with the world.
Curated by Serhan Ada and Simone Fattal, the exhibition includes ceramics, carpets, leporellos, oil paintings, drawings, prints, and a film by the artist who “has mastered more than one medium.” Visitors can also listen to recorded interviews made with the artist at various points in her life. Read more.
Leonardo Drew, Number 65P, 2017. Pigmented and cast handmade paper with hand applied pigment, 13 x 12.5 inches (33 x 31.8 cm), Edition of 10.
Installation view of Leonardo Drew's works in New Prints and Editions, Galerie Lelong & Co., New York, July 8 - August 13, 2021.
LEONARDO DREW
Since 2012, Leonardo Drew (b. 1961, Tallahassee, Florida) has been creating cast paper works that demonstrate the artist’s ingenuity and deep understanding of the material. Using an entirely new technique that Drew developed with the Pace Paper
studios, a variety of material—cotton paper pulp, pigment, and handmade paper—are applied to casted molds, producing works of emotional weight and gravity coaxed from the lightness of paper. Read more.
Installation view: Leonardo Drew, Number 82S, 2021. Wood, paint, and sand. On view June 18, 2021 through January 2, 2022. Wadsworth Atheneum Museum of Art. Hartford, Connecticut.
ONGOING EXHIBITION
In this two-part project for the Wadsworth Museum of Art, Leonardo Drew has created a site-specific installation: an expansive sculptural work the artist refers to as an “explosion” for the museum’s Main Street lobby, and an outdoor, interactive sculptural landscape spanning the museum’s front lawn.
Originally realized in 2019 as a commission for Madison Square Park in New York, City in the Grass has been modified for the Wadsworth’s expanse on Main Street. Drew’s participatory art sculpture is created for public interaction, a place for rest and reflection as much as performance and play. Read more.
Samuel Levi Jones, Water and Air, 2018. Flatbite and color aquatint, 65.5 x 65 inches (166.4 x 165.1 cm). Edition of 25.
Installation view of Etel Adnan and Samuel Levi Jones's works in New Prints and Editions, Galerie Lelong & Co., New York, July 8 - August 13, 2021.
SAMUEL LEVI JONES
Samuel Levi Jones’s (b. 1978, Marion, Indiana) ongoing practice centers on physically dismantling objects associated with systems of power and control, often rearranging deconstructed book covers into grid-like compositions to question their assumed command of the truth. The artist brought these books for his residencies at Paulson Fontaine Press in 2017 and 2018 respectively and created sewn
compositions for the print works. The compositions were then rolled with tar through a press, with the second plate holding solid aquatint. Both plates were inked à la poupée and each of the rectangles inked in a particular color by hand next to each other, resulting in vibrant prints that retain the intricate textures and dimensions of the book covers. Read more.
Installation view: Art of California: Greater than the Sum at SFMOMA, 2021. Photo: Katherine Du Tiel.
ONGOING EXHIBITION
Many of the artworks in this exhibition feature common objects: cardboard boxes scavenged from sidewalks, encyclopedias purchased online, and beloved keepsakes inherited from grandparents. Such humble, unexpected origins belie the alchemies that occur in the process of making—and result in artworks inestimably greater than
the sum of their parts. Drawn from the museum’s permanent collection, the works in this exhibition bring to the foreground the physicality of the things around us. Along the way, they reveal what is intangible but no less powerful, from private symbols and family lore to forgotten flash points calling for public remembrance. Read more.
Jaume Plensa, Aura I, 2020. Digital print, 39.4 x 27.5 inches (100 x 70 cm), Edition of 30.
JAUME PLENSA
Alongside a four decades-long sculpture practice, Jaume Plensa (b. 1955, Barcelona, Spain) has an equally long relationship to works on paper. In 2020, away from the team and studio that helps him realize his large-scale public art installations, Plensa began creating digital prints that meld images of human portraits.
The works reference his public-facing oeuvre—the smooth surfaces of his bronze sculptures and the light mesh sculptures are interwoven in a commentary on humanity’s deep connection to each other. Also on view are three intimate sculptures by Plensa that were produced as studies for monumental pieces. Read more.
Installation view of Jaume Plensa's works in New Prints and Editions, Galerie Lelong & Co., New York, July 8 - August 13, 2021.
Installation view of Jaume Plensa's works in New Prints and Editions, Galerie Lelong & Co., New York, July 8 - August 13, 2021.
Installation view: Jaume Plensa, Nuria, 2017 at the Philadelphia Musuem of Art.
ONGOING EXHIBITION
Recently installed at the Philadelphia Museum of Art's new expansion of the museum’s landmark building, Nuria (2017) is a large head—twelve feet in height—
—made of stainless steel mesh, a recent gift from Aileen and Brian Roberts. Read more.
Kate Shepherd, Corita's Sister #105, 2021. Unique screenprint on Coventry Rag paper. 39.75 x 24.75 inches (101 x 62.9 cm). Edition 1 of 1.
Installation view of Kate Sehpherd's works in New Prints and Editions, Galerie Lelong & Co., New York, July 8 - August 13, 2021.
KATE SHEPHERD
Since 2007, Kate Shepherd (b. 1961, New York, NY) has made unique screen prints in a consistent format that she calls Protest Posters. These works confer a sense of urgency and engage an economy of means to achieve bold visual impact. Using a set of screens that she repositions between successive layers of ink, Shepherd structures compositions that suggest layered space. The earliest protest posters were monochromatic, and later series incorporated a variety of brilliant hues.
In a recent series, titled News, Shepherd uses exclusively black inks to relate the tabloid format of her works to the black and white of printed newspapers and a photographer’s value scale. A concurrent chromatic series, titled Corita’s Sister, recalls the palette of Sister Corita Kent, whose politically motivated screen prints addressed themes of social justice. “While I never add text to my prints, I always think of posters from my childhood protesting the war in Vietnam. The ‘message’ is visceral rather than intellectual,” Shepherd states. Read more.
Installation view: Kate Shepherd, Red Rabbit, 2010, Celebrating Women Artists in The Phillips Collection: Anonymous Was a Woman Awardees, The Phillips Collection, Washington, DC, September 24 - December 27, 2020.
RECENT EXHIBITION
The year 2020 marks the 100th anniversary of the 19th amendment which granted women the constitutional right to vote, though women of color continued to encounter barriers in exercising this right.
The Phillips Collection celebrates this important milestone of American history—and also the women who have fought for equal rights and representation to this day—with this online viewing of works by women artists from the Phillips’s permanent collection. Read more.
Barthélémy Toguo, Moungo, 2020. Signed recto, Etching. 22.5 x 21.5 inches (57 x 54.5 cm), Edition of 10.
Installation view of Barthélémy Toguo's works in New Prints and Editions, Galerie Lelong & Co., New York, July 8 - August 13, 2021.
BARTHÉLÉMY TOGUO
Barthélémy Toguo’s (b. 1976, M’Balmayo, Cameroon) dreamlike prints depict human and plant forms that merge and morph into each other. By dissolving the boundaries between man and nature, the artist initiates a conversation about our
relationship to the environment, binding issues of ecology to society. Beginning as etchings in 2019, this new series of prints are all engraved in blue, with titles referencing the rivers of Cameroon, the artist’s home country. Read more.
Installation view: Craving for Humanity, The world of Barthélémy Toguo, 19 May – 5 December 2021. © Musée du Quai Branly, photo Léo Delafontaine © ADAGP, Paris, 2021.
ONGOING EXHIBITION
In Craving for Humanity, The world of Barthélémy Toguo, from watercolours of suffering bodies, sometimes strewn with nails, to monumental installations asking questions about our planet’s future, the angle of intimate and collective experiences
is used by the Fondation Dapper to explore the works of Barthélémy Toguo in a monograph coordinated by the foundation’s director, Christiane Falgayrettes-Leveau. Read more.
