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DTSTART;TZID=America/Halifax:20221027T180000
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SUMMARY:Ursula von Rydingsvard: LUBA
DESCRIPTION:Opening Thursday\, October 27\, 2022\, 6:00pm – 8:00pm \nGalerie Lelong & Co.\, New York is pleased to announce a solo exhibition by Ursula von Rydingsvard\, presenting new sculptures and drawings by the artist. Celebrated for her monumental sculptures in outdoor and indoor spaces\, von Rydingsvard rigorously innovates her visual language in movement and intensity\, her practice—that now numbers more than five decades—is suffused with a rich synthesis of form and emotion. The gallery’s exhibition follows a tour de force in Poland; a major retrospective to three museums that marked von Rydingsvard’s homecoming. The artist was born to a Polish-Ukrainian family that was deported for forced labor in Germany during World War II and emigrated to the U.S. after. \nAt the crux of von Rydingsvard’s desire for complexity is a profoundly vulnerable search and remembrance of places\, people\, and events. Grounded by her intuition\, the artist has increased the depth and recurrence of thin\, intricate crevices within the work’s interior\, a technical accomplishment that rewards careful looking—an impression of a large mass accrues texture upon discovering gaps\, punctures\, and orifices smaller than a human hand. “The transitions claim a kind of movement\, and I have the privilege of detouring these movements\, making some larger than others. The movements for which I have an infinite amount of admiration are those on the surface of the ocean; for all of the world’s ocean surface\, no one wave is like any other\,” von Rydingsvard has shared. \n\n\nIn addition to the works’ physicality\, von Rydingsvard places the pieces in subtle tension with the surfaces they encounter. The largest wall-based work\, OBUDOWAĆ (2020-21) evokes the language of painting through the artist’s creation of negative space achieved by leaving four-by-four cedar beams—the material she has been working with for over 50 years—untouched. Von Rydingsvard gives Polish titles to a majority of her sculptures\, and OBUDOWAĆ  [“rebuild”] is the first large sculpture produced after von Rydingsvard’s brief absence from the studio due to the pandemic. \nA new human-scale bronze work will be on view for the first time. Cast in bronze from a wood model\, Bowl with Fingers evokes a form familiar to the artist’s oeuvre while the bronze compels von Rydinsgvard to consider the surface as a painting with each brush of the patina. \nVon Rydingsvard’s bold assertion in commandeering any available space is similarly expressed in her drawings which has evolved to become a large part of her practice over the past two years. As von Rydingsvard never drafts her sculptures on paper before carving them on wood\, these rarely exhibited works rendered in charcoal and graphite on paper stand alone as a refulgent imprint of the artist’s expanding curiosity; a raw wonderment that recalls the artist’s roots in Post-Minimalism.
URL:https://artinamericaguide.com/event/ursula-von-rydingsvard-luba/2022-10-27/
LOCATION:Galerie Lelong & Co.\, 528 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20200312T100000
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SUMMARY:Kate Shepherd | Surveillance
DESCRIPTION:Galerie Lelong & Co. is pleased to present Surveillance\, a solo exhibition of work created in the past year by New York–based artist Kate Shepherd. Known for her richly colored paintings built with layers of monochromatic enamel\, Shepherd here charts new territory in her decades-long exploration of perspectival space. Chief among Shepherd’s concerns in these works is their relationship to their environs; the various reflective surfaces establish a spatial discourse across the panel\, the viewer\, and the gallery space. \nSurveillance presents two bodies of work conceived and executed in tandem. The first group\, on display in the main gallery\, incorporates 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. In many of these works\, she interrupts the glossy quality of the enamel\, sanding large areas down to produce velvety fields that show pentimenti of color and faint lines of obliterated brushstrokes. These shifts in color and finish complicate how distinct areas of the painting reflect their surroundings and ultimately create a push-pull. Being situationally reactive to light and movement\, the paintings take on sculptural characteristics in their constant change. \nOn view in the smaller gallery\, a second body of work recalls the daguerreotype’s image-making process. Shepherd begins these works by leaning paintings in her studio at varied angles\, allowing the paintings’ environments to be reflected within their compositions. The artist then photographs the painting and using the same enamel paint\, screen prints this image onto a panel. Born out of this referential loop\, these works evince a dialogue with memory and the act of surveillance. \nConcurrent with the gallery’s presentation\, Shepherd is exhibiting in the group show Unapologetic: All Women\, All Year at the Scottsdale Museum of Contemporary Art (SMoCA) through January 31\, 2021. On April 29\, 2020\, Shepherd will lecture at The Menil Collection in Houston\, which holds her work. \nBorn in 1961 in New York City\, Kate Shepherd lives and works in New York City. Her work is featured in numerous museum collections\, including The Phillips Collection\, Washington\, D.C.; Albright-Knox Art Gallery\, Buffalo\, New York; Baltimore Museum of Art\, Maryland; Los Angeles County Museum of Art\, California; Museum of Fine Arts\, Boston\, Massachusetts; The Microsoft Art Collection; and the Metropolitan Museum of Art\, New York\, New York. Solo exhibitions of the artist’s work have been held at institutions including The Phillips Collection\, Washington\, D.C.; Charlotte and Philip Hanes Art Gallery\, Wake Forest University\, Winston-Salem\, North Carolina; and The Chinati Foundation\, Marfa\, Texas. \n\nImage:\nKate Shepherd\nEavesdropper\, 2019\nEnamel on panel\n52 x 46 inches (132.1 x 116.8 cm)\n(Photographed with reflections)\n(GL 14292)
URL:https://artinamericaguide.com/event/kate-shepherd-surveillance/
LOCATION:Galerie Lelong & Co.\, 528 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20200312
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SUMMARY:Virtual Exhibition | Kate Shepherd: Surveillance
DESCRIPTION:Galerie Lelong & Co. is pleased to present Surveillance\, a solo exhibition of work created in the past year by New York–based artist Kate Shepherd. Known for her richly colored paintings built with layers of monochromatic enamel\, Shepherd here charts new territory in her decades-long exploration of perspectival space. Chief among Shepherd’s concerns in these works is their relationship to their environs; the various reflective surfaces establish a spatial discourse across the panel\, the viewer\, and the gallery space. \nImage:\nKate Shepherd\nEavesdropper\, 2019\nEnamel on panel\n52 x 46 inches (132.1 x 116.8 cm)\n(Photographed with reflections)\n(GL 14292) \n\n \nKate Shepherd Exhibition Walkthrough from Galerie Lelong on Vimeo. \n\nSurveillance presents two bodies of work conceived and executed in tandem. The first group\, on display in the main gallery\, incorporates 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. In many of these works\, she interrupts the glossy quality of the enamel\, sanding large areas down to produce velvety fields that show pentimenti of color and faint lines of obliterated brushstrokes. These shifts in color and finish complicate how distinct areas of the painting reflect their surroundings and ultimately create a push-pull. Being situationally reactive to light and movement\, the paintings take on sculptural characteristics in their constant change. \nOn view in the smaller gallery\, a second body of work recalls the daguerreotype’s image-making process. Shepherd begins these works by leaning paintings in her studio at varied angles\, allowing the paintings’ environments to be reflected within their compositions. The artist then photographs the painting and using the same enamel paint\, screen prints this image onto a panel. Born out of this referential loop\, these works evince a dialogue with memory and the act of surveillance. \n\nOn April 10\, 2020\, Art in America editor Will Smith and Kate Shepherd got on Zoom to discuss her new body of abstract paintings and how they can connect with viewers in today’s virtual settings. Watch the recording here. \nAired on April 15\, 2020\, Kate Shepherd was a guest on The Modern Art Notes podcast with Tyler Green for the “Pandemic Bonus Episode.” In the episode\, Shepherd shared how her works in Surveillance were developed over six years\, reflecting on the current situation and what it means to her as an artist. Listen to the episode here. \n\nBorn in 1961 in New York City\, Kate Shepherd continues to live and work there. Her work is featured in numerous museum collections\, including The Phillips Collection\, Washington\, D.C.; Albright-Knox Art Gallery\, Buffalo\, New York; Baltimore Museum of Art\, Maryland; Los Angeles County Museum of Art\, California; Museum of Fine Arts\, Boston\, Massachusetts; The Microsoft Art Collection; and the Metropolitan Museum of Art\, New York\, New York. Solo exhibitions of the artist’s work have been held at institutions including The Phillips Collection\, Washington\, D.C.; Charlotte and Philip Hanes Art Gallery\, Wake Forest University\, Winston-Salem\, North Carolina; and The Chinati Foundation\, Marfa\, Texas.
URL:https://artinamericaguide.com/event/virtual-exhibition-kate-shepherd-surveillance/
LOCATION:Galerie Lelong & Co.\, 528 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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DTSTART;TZID=America/Halifax:20200125T180000
DTEND;TZID=America/Halifax:20200307T180000
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SUMMARY:Krzysztof Wodiczko: A House Divided...
DESCRIPTION:Galerie Lelong & Co. is pleased to present Krzysztof Wodiczko: A House Divided…\, a new projection-installation work exploring contemporary political polarization in the United States and reflective of the world at large. This exhibition follows the opening of the artist’s most recent site-specific projection\, Monument\, commissioned by Madison Square Park Conservancy and on view January 16 through May 10\, 2020. \nWodiczko’s lifelong investigation of speech in public spaces aims to give voice to the marginalized and thereby generate an impetus for systematic change. Wodiczko’s practice\, which he terms “Interrogative Design\,” combines art and technology with contemporary issues of urban\, historical\, and aesthetic culture. A House Divided… stands out as Wodiczko’s first work that focuses on a population defined not by glaring injury\, but by painful disagreement. The citizens of New York’s Staten Island were recorded expressing their deeply felt political views. Through video projection\, these recordings animate the faces\, hands and feet of two statues of Abraham Lincoln as the interviewees’ voices fill the gallery. Looming at eight feet tall and positioned to face one another as if in conversation\, these “Lincolns” engage in frank exchange\, testifying to the divergent political views among members of a singular community and\, in some cases\, from within the same family. \nThe methodology behind A House Divided… was previously explored in My Wish (2017)\, a work commissioned and in the collection of the National Museum of Modern and Contemporary Art\, Seoul\, South Korea. Similarly\, Wodiczko brought members of Korean society together in unified social participation; participants sharing their unique experiences\, hopes and dreams as their likenesses were projected on Kim Koo\, the Korean independence activist. Wodiczko has previously given a public platform to marginalized voices such as mothers who have lost their children to murder (Bunker Hill Monument\, Boston\, Massachusetts\, 1998)\, survivors of the Hiroshima atomic bomb (A-Bomb Dome Projection\, Hiroshima Peace Memorial\, Japan\, 1999)\, and exploited female laborers (El Centro Cultural\, Tijuana\, Mexico\, 2001) amongst many others. \nThe exhibition’s title refers to the phrase “A house divided against itself cannot stand” from Abraham Lincoln’s 1858 speech during an unsuccessful run for U.S. Senate\, which quoted a passage from the Bible\, Matthew (12:22-28). Lincoln borrowed a familiar phrase in order to garner support for the contentious proposition of unifying a rapidly expanding nation teetering on the brink of war. Wodiczko repurposes the statement in a contemporary setting to highlight the partisan contention. In 2019\, Wodiczko conducted research of suburban social landscapes in the Tri-State area before choosing Staten Island\, a New York City borough that is racially and ethnically diverse yet a simultaneously politically divided geography: north as liberal-leaning and south as conservative-leaning. \n\n\nConcurrently at Madison Square Park is Monument\, a site-specific public art installation that renders in high relief the diverse\, difficult journeys of today’s refugees. Commissioned by Madison Square Park Conservancy\, the work will project the likenesses and spoken narratives of resettled refugees—who have originated from different parts of the world—onto the Park’s 1881 monument to Admiral David Glasgow Farragut. A looping video projection will bring the monument to life with stories of displacement that illuminate how war\, conflict\, and political fallout impact individuals globally\, encouraging visitors to consider how the history of conflict is memorialized. \nA feature length documentary on Wodiczko’s practice\, The Art of Un-War directed by Maria Niro\, is anticipated to premiere in 2020. \nOn public buildings and monuments in more than 40 cities worldwide\, Wodiczko has realized more than 90 site-specific projections. He has created projections on the Hirshhorn Museum and Sculpture Garden\, Washington\, DC (1988/2018); Whitney Museum of American Art\, New York\, New York (1989); Kraków’s City Hall Tower\, Poland (1996); Boston’s Bunker Hill Monument\, Massachusetts (1998); Kunstmuseum Basel\, Switzerland (2005); and Goethe-Schiller Monument\, Weimar\, Germany (2016). Recent survey exhibitions include Krzysztof Wodiczko: Instruments\, Monuments\, Projections\, National Museum of Modern and Contemporary Art\, Seoul\, South Korea (2017); Krzysztof Wodiczko\, Foundation for Art and Creative Technology (FACT) for Liverpool Biennial\, England (2016); and Krzysztof Wodiczko: On Behalf of the Public Domain\, Muzeum Sztuki in Łódź\, Poland (2015). Wodiczko’s instruments\, vehicles\, and documentation of his projections can be found in over 20 museum and public collections worldwide including the Museu d’Art Contemporani de Barcelona\, Spain; National Museum of Modern Art Kyoto\, Japan; Walker Art Center\, Minneapolis\, Minnesota; Museum of Contemporary Art in Kraków\, Poland; Centre Pompidou\, Paris\, France; and Hirshhorn Museum and Sculpture Garden\, Washington\, DC. Wodiczko is currently a professor and director of the Art Design and the Public Domain program at the Graduate School of Design at Harvard University. He was formerly director of the Interrogative Design Group at the Massachusetts Institute of Technology (MIT) where he was a professor in the Art Culture and Technology Program. Amongst many recognitions and awards\, Wodiczko received the Hiroshima Art Prize in 1999. Wodiczko has authored ten books amongst notable contributions to academic and artistic publications; his writings have also been translated to Polish\, French\, Spanish\, and Korean. Born in 1943 in Warsaw\, Poland\, Wodiczko lives and works in New York City; Cambridge\, Massachusetts; and Warsaw\, Poland.
URL:https://artinamericaguide.com/event/krzysztof-wodiczko-a-house-divided/
LOCATION:Galerie Lelong & Co.\, 528 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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