May 14 — May 17, 2015
RANDALL’S ISLAND PARK
LENORA DE BARROS
BROADWAY 1602 is pleased to announce our new engagement with the estate of George Segal, to be premiered at Frieze New York 2015.
George Segal (1924–2000), a native New Yorker of the Pop Art era, is undeniably one of the most masterful sculptors of the twentieth century. The intimacy and immediacy of his life cast figures psychologically absorbed in everyday environments has captured and moved generations.
Represented by the Sidney Janis Gallery for over thirty years Segal’s signature plaster figures are now in museum collections throughout the world and his bronzes have been commissioned for public spaces like The Commuters (1980) in the Port Authority Bus Terminal and the commemorative bronze Gay Liberation (1980) in Sheridan Square in New York City.
George Segal has received many museum exhibitions including his retrospectives at the Whitney Museum and the Jewish Museum in New York City and the Hirshhorn Museum and Sculpture Garden, in Washington, D.C.. Recently, pivotal Segal works are on show again in the new collection presentations, e.g. in the in the new Whitney Museum building and the Perez Museum in Miami.
A new momentum has come for the recognition of George Segal in a time lacking and longing for an encounter with the existential and communicative dimension of the human figure in real life materialization, confrontation and immediacy. Segal’s figures are solemn place holders of this dimension on the verge of loss. Their re-appearance creates a powerful new statement in the tissue of the contemporary.
At Frieze New York 2015 we present a group of five works representing Segal’s innovative decades-spanning practice from the early 1962 pastel drawing (Untitled (Nude with Purple Hair); to his 1970 body plaster Fragments: Hand at Side and Dangling Arm;
his 1986 neo-cubist assemblage Still Life with Shoe and Rooster (Braque); and his 1995 spectacular installation “Bus Station” from the “Darkness and Light” series portraying street scenes and decay of Downtown New York City.
In dialogue with this Segal focus, we present the seminal painting “Welcome” (1963) by Marjorie Strider, an icon of New York female Pop Art. From the same generation we show Minimalist Rosemarie Castoro’s large scale monochromatic painting Arm Swing Blues (1967).
Brazilian artist Lenora de Barros, – who had started her career with the photo performance “Homage to George Segal” in 1975 -, premieres her photographic ensemble Coisa em si (The Thing Itself) I, II and II (2001), part of her 25 years running project “Ping Poema”, based on her roots in Concrete Poetry.