Well versed in art history and particularly in sculpture, Flanagan had the talent to evoke it with liberty and virtuosity, by unexpected associations (boomerang and anvil, animal and skyscraper, a surprising Three Graces), deceptively casual models and remarkable feats of equilibrium.
See the catalog
Well versed in art history and particularly in sculpture, Flanagan had the talent to evoke it with liberty and virtuosity, by unexpected associations (boomerang and anvil, animal and skyscraper, a surprising Three Graces), deceptively casual models and remarkable feats of equilibrium.
This exhibition brings together works from 1980 to 2009, where we find the famous hare that was a fetish of Flanagan’s – in the position of Le Penseur by Rodin, as a bounding hare-unicorn, as a musician, a juggler, but also dragons, bells, a crescent moon and a dog. This exhibition is organisated in collaboration with The Estate of Barry Flanagan. A catalogue will be published with a text by Didier Semin.
Jean Dubuffet (1901-1985) liked paper, ink, printing… He liked discussions with writers to produce books, being a writer himself. Prints were an art form for him, practiced with passion from the 1940s to the 1980s; at one point he even went as far as to install his own lithograph workshop.
See the press release
Jean Dubuffet (1901-1985) liked paper, ink, printing… He liked discussions with writers to produce books, being a writer himself. Prints were an art form for him, practiced with passion from the 1940s to the 1980s; at one point he even went as far as to install his own lithograph workshop.
Jean Dubuffet created his own foundation in 1973. It ensures the knowledge, respect and promotion of his work, which is regularly exhibited in museums around the world. This very active organisation is working on an important exhibition at the MuCEM in Marseille: Jean Dubuffet, un barbare en Europe which will open on 24 April. Galerie Lelong & Co. now works with the Fondation Dubuffet to produce enlargements according to the instructions of the artist, using models and plans held in trust by the foundation.
The question of violence is a recurrent theme in the work of Nancy Spero (1926-2009): the violence of war (her memorable War Drawings at the time of the Vietnam War), symbolic or physical violence against women and minorities (she was one of the first to fight publicly for the place of women in the art world), the legitimate violence of resistance movements (against the Nazis, against Pinochet) and poetic and expressive violence (Artaud). Whether she was evoking a specific conflict or producing a transhistorical summary, Nancy Spero knew how to assemble and combine images taken from a variety of sources to produce dynamic works with a force that has remained intact and has now become part of art history.
See the catalog
The question of violence is a recurrent theme in the work of Nancy Spero (1926-2009): the violence of war (her memorable War Drawings at the time of the Vietnam War), symbolic or physical violence against women and minorities (she was one of the first to fight publicly for the place of women in the art world), the legitimate violence of resistance movements (against the Nazis, against Pinochet) and poetic and expressive violence (Artaud). Whether she was evoking a specific conflict or producing a transhistorical summary, Nancy Spero knew how to assemble and combine images taken from a variety of sources to produce dynamic works with a force that has remained intact and has now become part of art history.
Born in Cleveland (Ohio) in 1926, Spero studied in Chicago then in Paris, where she lived from 1959 to 1964 with her husband, the painter Leon Golub. Her works form part of the collections of major international museums including the MoMA, New York; the Hirshhorn Museum, Washington D.C.; The Museum of Contemporary Art, Los Angeles; The National Gallery of Canada, the MNAM Centre Pompidou, Paris; the Kunstmuseum, Düsseldorf; the Reina Sofia, Madrid and more. An exhibition of her work is being presented for the first time in Mexico, at Museo Tamayo, until 17 February 2019. A roaming retrospective retracing her career in detail will open this summer in the Folkwang Museum in Essen, moving to Skärhamn in Sweden then Humlebæk in Denmark and finally Lillehammer in Norway.
Recently, his works have been informed by movements such as #BlackLivesMatter and the refugee crisis. He states, “What guides me is a constantly evolving aesthetic but also a sense of ethics, which makes a difference, and structures my entire approach.”
Recently, his works have been informed by movements such as #BlackLivesMatter and the refugee crisis. He states, “What guides me is a constantly evolving aesthetic but also a sense of ethics, which makes a difference, and structures my entire approach.”
Toguo was born in M’Balmayo, Cameroon, in 1967. He currently lives and works between Paris, France and Bandjoun, Cameroon.
From 18 February to 11 May 2019, Galerie Lelong & Co. invites Jean-Baptiste Huynh to present WOMAN – Portrait de la beauté, a series of mostly hitherto unseen photographs, in its showroom on Avenue Matignon.
“As a visual artist and photographer, it is naturally by looking, by interpreting reality
through the use of light that I explore the question of beauty. This has nourished my work since its foundations some thirty years ago, and today is the focus of the photographic study I am carrying out on the beauty of the female face in its universality, its authenticity and its timelessness around the world. How can we enhance what is beautiful? How can we enhance what isn’t beautiful? Why? Do beauty and ugliness actually exist? In parallel, I am carrying out a series of interviews with personalities from various horizons – an actress, a neuroscientist, a poet, a musician, a great fashion designer, an architect, a gallery owner, a major collector, a
model – where I ask them: What is beauty? What is beauty represented by the artist?” Jean-Baptiste Huynh.
From 18 February to 11 May 2019, Galerie Lelong & Co. invites Jean-Baptiste Huynh to present WOMAN – Portrait de la beauté, a series of mostly hitherto unseen photographs, in its showroom on Avenue Matignon.
“As a visual artist and photographer, it is naturally by looking, by interpreting reality
through the use of light that I explore the question of beauty. This has nourished my work since its foundations some thirty years ago, and today is the focus of the photographic study I am carrying out on the beauty of the female face in its universality, its authenticity and its timelessness around the world. How can we enhance what is beautiful? How can we enhance what isn’t beautiful? Why? Do beauty and ugliness actually exist? In parallel, I am carrying out a series of interviews with personalities from various horizons – an actress, a neuroscientist, a poet, a musician, a great fashion designer, an architect, a gallery owner, a major collector, a
model – where I ask them: What is beauty? What is beauty represented by the artist?” Jean-Baptiste Huynh.
Winner of the Villa Médicis Hors Les Murs Prize, the work of Jean-Baptiste Huynh has
been exhibited in a variety of galleries and museums around the world. In 2002, the Maison Européenne de la Photographie in Paris presented the exhibition Yeux, accompanied by a catalogue bringing together portraits by the greatest international photographers and painters. The Ecole Nationale des Beaux-Arts de Paris organised a retrospective in 2006 of his travel portraits, Le Regard à l’oeuvre. In 2012, the Musée du Louvre invited him to present a personal exhibition, Rémanence, bringing together images inspired by the museum’s collections. In 2019, the Musée National des Art Asiatiques Guimet gave Jean-Baptiste Huynh carte blanche to conceive an exhibition and the work that accompanied it, according to his inspiration: INFINIS D’ASIE.
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