Etel Adnan at Galerie Lelong, New York

Untitled, 2015 Oil on canvas 16 1/8 x 13 inches (41 x 33 cm) Framed: 18 5/8 x 15 1/2 x 1 3/4 inches (47.3 x 39.4 x 4.4 cm)   

Untitled, 2015
Oil on canvas
16 1/8 x 13 inches (41 x 33 cm)
Framed: 18 5/8 x 15 1/2 x 1 3/4 inches (47.3 x 39.4 x 4.4 cm) 

 

Untitled, 2014 Oil on canvas 10 1/2 x 13 3/4 inches (27 x 35 cm) Framed: 13 3/16 x 16 1/2 x 1 3/4 inches (33.5 x 41.9 x 4.4 cm)  

Untitled, 2014
Oil on canvas
10 1/2 x 13 3/4 inches (27 x 35 cm)
Framed: 13 3/16 x 16 1/2 x 1 3/4 inches (33.5 x 41.9 x 4.4 cm)

 

Untitled, c. 1970 Pastel on paper 9 1/2 x 11 13/16 inches (24 x 30 cm) Framed: 13 1/4 x 15 1/2 x 1 5/8 inches (33.7 x 39.4 x 4.1 cm)  

Untitled, c. 1970
Pastel on paper
9 1/2 x 11 13/16 inches (24 x 30 cm)
Framed: 13 1/4 x 15 1/2 x 1 5/8 inches (33.7 x 39.4 x 4.1 cm)

 

All images: Copyright of the Artist, Courtesy of Galerie Lelong, New York  

All images: Copyright of the Artist, Courtesy of Galerie Lelong, New York  

Untitled, 2015 Oil on canvas 13 3/4 x 10 5/8 inches (35 x 27 cm) Framed: 16 1/4 x 13 1/8 x 1 3/4 inches (41.3 x 33.3 x 4.4 cm)

Untitled, 2015
Oil on canvas
13 3/4 x 10 5/8 inches (35 x 27 cm)
Framed: 16 1/4 x 13 1/8 x 1 3/4 inches (41.3 x 33.3 x 4.4 cm)

All images: Copyright of the Artist, Courtesy of Galerie Lelong, New York  

All images: Copyright of the Artist, Courtesy of Galerie Lelong, New York  

Untitled, 2015 Oil on canvas 13 3/4 x 10 5/8 inches (35 x 27 cm) Framed: 16 1/4 x 13 1/8 x 1 5/8 inches (41.3 x 33.3 x 4.1 cm)

Untitled, 2015
Oil on canvas
13 3/4 x 10 5/8 inches (35 x 27 cm)
Framed: 16 1/4 x 13 1/8 x 1 5/8 inches (41.3 x 33.3 x 4.1 cm)

All images: Copyright of the Artist, Courtesy of Galerie Lelong, New York  

All images: Copyright of the Artist, Courtesy of Galerie Lelong, New York  

Marée Basse [Low Tide], 1967-73 / 2015 Tapestry 78 3/4 x 63 inches (200 x 160 cm) Edition of 3  

Marée Basse [Low Tide], 1967-73 / 2015
Tapestry
78 3/4 x 63 inches (200 x 160 cm)
Edition of 3

 

Inkpots with Signs, 2015 Ink and watercolor on paper 7 x 4 3/4 x 3/4 inches (18 x 12 x 2 cm)  

Inkpots with Signs, 2015
Ink and watercolor on paper
7 x 4 3/4 x 3/4 inches (18 x 12 x 2 cm)

 

Untitled, 2015
Oil on canvas
16 1/8 x 13 inches (41 x 33 cm)
Framed: 18 5/8 x 15 1/2 x 1 3/4 inches (47.3 x 39.4 x 4.4 cm) 

 

Untitled, 2014
Oil on canvas
10 1/2 x 13 3/4 inches (27 x 35 cm)
Framed: 13 3/16 x 16 1/2 x 1 3/4 inches (33.5 x 41.9 x 4.4 cm)

 

Untitled, c. 1970
Pastel on paper
9 1/2 x 11 13/16 inches (24 x 30 cm)
Framed: 13 1/4 x 15 1/2 x 1 5/8 inches (33.7 x 39.4 x 4.1 cm)

 

All images: Copyright of the Artist, Courtesy of Galerie Lelong, New York  

Untitled, 2015
Oil on canvas
13 3/4 x 10 5/8 inches (35 x 27 cm)
Framed: 16 1/4 x 13 1/8 x 1 3/4 inches (41.3 x 33.3 x 4.4 cm)

All images: Copyright of the Artist, Courtesy of Galerie Lelong, New York  

Untitled, 2015
Oil on canvas
13 3/4 x 10 5/8 inches (35 x 27 cm)
Framed: 16 1/4 x 13 1/8 x 1 5/8 inches (41.3 x 33.3 x 4.1 cm)

All images: Copyright of the Artist, Courtesy of Galerie Lelong, New York  

Marée Basse [Low Tide], 1967-73 / 2015
Tapestry
78 3/4 x 63 inches (200 x 160 cm)
Edition of 3

 

Inkpots with Signs, 2015
Ink and watercolor on paper
7 x 4 3/4 x 3/4 inches (18 x 12 x 2 cm)

 

Etel Adnan

2.4. - 8.5. 
Galerie Lelong
528 West 26th Street
New York, NY 10001

The vibrant, expressive paintings, works on paper, and tapestries of Lebanese-born artist and writer Etel Adnan (*1925) demonstrate her commitment to communication beyond the confines of the written or spoken word, and her use of color, shape, gesture, and perception help to create the landscapes for which she is well known in a variety of media. For the first time in New York, a film by the artist will also be on view in the exhibition.

- PRESS TEXT -

 

Etel Adnan
Galerie Lelong
New York
painting

People
Shimabuku, Christmas in the Southern Hemisphere , 1994. Courtesy: the artist and Air de Paris, Romainville. Photo: Photo Marc Domag

Shimabuku, Christmas in the Southern Hemisphere, 1994. Courtesy: the artist and Air de Paris, Romainville. Photo: Photo Marc Domag

Places to Travel Slowly: An Interview with Shimabuku

An artist of chance encounters muses about the intimacy of dirt, world-record mountaineering, and art that opens up the body’s every cell.

Views
Whitney Claflin, Writer’s Block , 2023, vinyl on plexiglass, stretchfoil; four panels, each 119 x 119 cm. Courtesy: the artist and DREI, Cologne

Whitney Claflin, Writer’s Block, 2023, vinyl on plexiglass and stretchfoil. Installation view, Galerie Layr, Vienna, 2023. Courtesy: the artist and Drei, Cologne

Correspondences: Curated by and viennacontemporary 2023

Ringing out the summer, the Viennese art world’s own Philip Marlowe, Max Henry, sleuthed across the hardboiled city, looking for the traces of the evasive Neutral.

Discourse
Photo: Gucci SS 2023

Photo: Gucci “Twinsburg” SS 2023

Theory of Style: On Looking Like

What is it like to “like” in the era of influencer fashion? Does desiring to emulate mean accepting one’s artificial self? In her September column, Joanna Walsh considers the difference between looking and being “like.”

Views
Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

Archipelago of Other Knowledges

Spread over a wooded coastal island, the second Helsinki Biennial posits flora and soil as more potent agents of politics than language-based art activists.

Things we like
VALIE EXPORT, Körperkonfiguration , 1982, silver gelatin print, 119.5 × 180 cm. © VG Bild-Kunst, Bonn 2023. Courtesy:the artist and Charim Galerie, Vienna

VALIE EXPORT, Körperkonfiguration, 1982, silver gelatin print, 119.5 × 180 cm. © VG Bild-Kunst, Bonn 2023. Courtesy:the artist and Charim Galerie, Vienna

5 Shows On Our Radar

Spoilt for choice by Berlin Art Week and Gallery Weekend Festival? Spike tabbed through the capital’s stacked exhibition schedule for what to see with fresh eyes in the coming days.

Discourse
Britney Spears objects with an umbrella to a paparazzo’s behavior, 2006

Britney Spears to a paparazzo’s behavior with an umbrella, 2007

The Internet is Forever

In the mistake culture produced by an era of surveillance, our idea of the good isn’t defined by action, but its appearance, and the power to make truth boils down to who keeps the receipts. By Matilda Lin Berke

People
Anna-Sophie Berger,  Untitled, Alexander Berger 1979 , 2023, C-print, 162.6 x 106.6. cm. Courtesy: Anna-Sophie Berger and Emanuel Layr, Vienna. Photo: Kunstdokumentation

Anna-Sophie Berger, Untitled, Alexander Berger 1979, 2023, c-print, 162.5 x 106.5 cm. All images courtesy: the artist and Emanuel Layr, Vienna. Photos: Kunstdokumentation

Moral Fables: An Interview with Anna-Sophie Berger

Is legibility in art a violent demand? During her latest solo show at Emanuel Layr, Vienna, Anna-Sophie Berger spoke about bad faith, harmful language, and fashion’s rapport with death.

Things we like
Julia Scher, Greta , 2022, marble 40 x 76 x 30 cm. © Rolf K. Wegst. Courtesy: the artist and Drei, Cologne

Julia Scher, Greta, 2022, marble 40 x 76 x 30 cm. © Rolf K. Wegst. Courtesy: the artist and Drei, Cologne

5 Shows On Our Radar

Phones from a dog’s eyes, knock-off poetry, and archives archives archives: Spike’s editors recommend four shows and one walking tour during Munich’s marquee art event “VARIOUS OTHERS.”

Discourse
#76
Joan Didion’s pair of Celine faux-tortoiseshell sunglasses, which sold at auction in November 2022 for $27,000

Joan Didion’s Celine faux-tortoiseshell sunglasses, which sold at auction in November 2022 for $27,000

Second-Hand Lifestyles

In times of it-girl inflation, everyone wants to live in a celebrity’s skin. Who better than Joan Didion to burst that bubble? Her spirit explains why style survives death and serious (prose-) stylists only buy Kim Kardashian’s shapewear.

Views
#76
Left: Pablo Picasso, The Sculptor , 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman , 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

Left: Pablo Picasso, The Sculptor, 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman, 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

Sorry Not Sorry

Warming over Hannah Gadsby’s stand-up Picasso takedown from 2018, “It’s Pablo-matic” undermines the Brooklyn Museum’s own staff and even gatekeeps the privileges of non-expertise.

People
#33
Nicole Eisenman, Sloppy Bar Room Kiss , 2011, oil on canvas, 99 x 122 cm. Courtesy:  the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer

Nicole Eisenman, Sloppy Bar Room Kiss, 2011, oil on canvas, 99 x 122 cm. Courtesy:  the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer

Heavy Painting

Joanna Fiduccia’s portrait in Spike #33 of Nicole Eisenman, now the subject of a retrospective at Museum Brandhorst, Munich, snapshots her first forays into printmaking and her opening of the body unto intimacy.

"My works are the most sincere and tragic things I have done in life"

"If I tell you I have to kill you with my laser vision"