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.
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.
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.
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.
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
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.
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.
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.
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—
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.
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’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.
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.