Callicoon Fine Arts: April 3 – May 23, 2014
Callicoon Fine Arts is presenting paintings and other works by Etel Adnan at two of its New York spaces in an exhibition which is to run until 23 May 2014.
The eponymously-titled exhibition is to take place at 49 Delancey Street and 124 Forsyth Street, New York; each individual location is to demonstrate one single aspect of the Lebanese artist’s visual media. 124 Forsyth Street is to display a selection of the artist’s leporellos: large paper books which unfold in an accordion-like manner with the help of an intelligent folding and construction technique. The works, which expand greatly in size when opened, date back to 1968 when Adnan created Late Afternoon Poem, a leporello of text that would be otherwise unpublished. Letters intermingle with splashes of watercolour paint in an evocation of warfare and its disordered aftermath. Meanwhile, 49 Delancey Street gives the visitor a chance to discover an alternative aspect of Adnan’s artistic output; this time focusing on painting. The works on display represent a crucial motif of the artist’s work, Mount Tamalpais, north of San Francisco, which frequently appears as a source of inspiration and as a central object in many of her works.
Etel Adnan in the Whitney Biennial
March 7 – May 25, 2014
Whitney Museum of American Art: 945 Madison Avenue, New York, NY 10021
Etel Adnan at Sfeir-Semler Gallery, Hamburg
November 2, 2012 – January 12, 2013
In the wake of Beirut-born Etel Adnan’s well-received contribution to Documenta 13 earlier this year, Steffen Zillig considers the limits of a biographical reading of Adnan’s works.
Download a review here.
A gallery is devoted to the small abstractions that the Lebanese-American poet and writer Etel Adnan has made since the late 1950s. Credit: Andreas Meichsner for The New York Times.
Read more about Documenta 13 from The New York Times.
June 15, 2012.
Etel Adnan at the Base of the Mountain, a review by Maymanah Farhat for Jadaliyya.
Download the review here.
November 30, 2012.
On Perception: Etel Adnan’s Visual Art, essay by Simone Fattal.