#luhring augustine

[phenomenologically]

Guadalupe Maravilla (Salvadoran, b. 1976). "Ancestral Stomach 1," (2021) dried gourd with mixed media. Exhibited at Luhring Augustine "Plus One" (2021).

[eastvillagetripster]

Beautiful Dreamer

"Los Cómplices", A painting by Julio Galán at Luhring Augustine in a two-part collaborative exhibition with kurimanzutto gallery, Chelsea Arts District, Chelsea, New York City.

[thingstol00kat]

Malick Sibidé, Luhring Augustine, NYC April 2025

[jgthirlwell]

04.19.25 Paintings by Juilo Galan at Luhring Augustine in Chelsea.

[doubtspirit]

Mercy Garden from the Mercy Work Family

2014 Audio video installation with sound by Heinz Rohrer Installation.

view: Pipilotti Rist. Kunsthalle Krems, Krems, Austria, 2015

Photo: Lisa Rastl © Pipilotti Rist Courtesy the artist, Hauser & Wirth, Luhring Augustine

[longlistshort]

Luhring Augustine and kurimanzutto are currently showing paintings by the late Mexican artist Julio Galán in both of their galleries. The captivating paintings are filled with symbolic imagery and reflect the artist’s struggles with identity.

From kurimanzutto-

Galán’s brilliant career, which spanned from the mid-1980s until his untimely death in 2006, was primarily centered in New York City, Paris, and Monterrey, Mexico. While his work has not been broadly exhibited outside of his native country since his passing, his work was exhibited internationally extensively during his life, and he is widely considered the preeminent Mexican painter of his generation. Galán’s nonconformist and expansive multidisciplinary practice addresses issues of identity, gender, culture, and social constructs in works that layer self-representation and aspects of the personal with larger themes of cultural and sexual difference. Infused with an allegorical quality and woven throughout with a complex array of signifiers—enigmatic iconography and cultural references—his works, as well as his carefully crafted public persona, embraced a self-conscious othering and an ambiguous mutability that refused fixed interpretation. As art historian and professor Teresa Eckmann writes, “On canvas, he recounted and constructed illogical visions, teasing out the line between the real and artifice, his artwork deemed an “inaccessible yet formally intoxicating fabrication of self.” Galán hid from the viewer his artwork’s content as much as he revealed it; simultaneously, with his body, he explored fluid identity through masquerade.”

Rendered in a pastiche of styles, with a syncretic approach to culture, Galán’s work blends references and influences from Mexican folk and religious imagery to Surrealism, Pop Art, and graffiti. While he has often been associated with the Neomexicanismo movement of his native country and the Neo-expressionism of his peers in New York, these were characterizations he resisted, much in the way that he deliberately rejected any form of restrictive definition or singular interpretation. Magalí Arriola, former director of Museo Tamayo and curator of Galán’s most recent major retrospective, notes, “Though in some of his work [he] resorted to an iconography associated with popular Mexican culture…the use of stereotypical figures such as the charro of the Tehuana, was also related to his interest in transvestism and disguises as strategies to subvert sexual identities and other cultural constructs.” Galán’s approach exposes the limitations and issues inherent in the interrelated sentiments and systems that create and uphold any form of binary classification or fixed characterization, be they related to sexuality, nationality, spirituality, or any categorization. As writer Evan Moffitt notes, “Galán’s adoption of Mexican stereotypes and Platonic personalities reveals nationalism to be a kind of pompous drag…. There’s plenty of kitsch in Galán’s paintings, to be sure, but that kitsch is fundamental to their radicalism.” Continuing to resonate today are the remarkable energy, intelligence, and theatricality of Galán’s work, and the questions he explored regarding the relationship of individual identity and the creation of the self to oversignified notions of culture and nationalism.

For more detail on Galán, kurimanzutto has provided a link to an excellent essay by Evan Moffit about the artist and his work.

This exhibition closes 4/19/25.

[abstracteddistractions]

Philip Taaffe, "Prior Pedro" (2022), 

Mixed media on panel, 14 1/8 inches x 26 1/8 inches 

© Philip Taaffe; photo by Farzad Owrang, courtesy the artist and Luhring Augustine, New York.

[newyorkarttours]

Allison Katz in ‘Plus One’ at Luhring Augustine

Two fabulously colored fighting cockerels by London-based painter Allison Katz dominate Luhring Augustine’s summer group show. Titled ‘Noli Me Tangere!’ or ‘don’t touch me’ after Christ’s post-resurrection instruction to Mary Magdalene, the birds seem less about divine mystery than hysterical escalation of conflict. Flowing feathers create dynamic patterns, echoing the clouds in the sky and lending beauty and urgency to a scene both captivating and absurd. (On view in Chelsea through August 6th.) Allison Katz, Noli Me Tangere!, oil, acrylic and rice on canvas, 78 ¾ x 86 5/8 inches, 2021.