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Frieze New York

May 18–22, 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Installation view: Alexander Gray Associates, Frieze New York 2022

Melvin Edwards, Mozambique, ca. 1974

Melvin Edwards

Mozambique, ca. 1974

Welded steel and powder coating

92 x 71 x 16 1/2 in (233.68 x 180.34 x 41.91 cm)

Harmony Hammond, Double Bandaged Quilt #1 (Horizontal), 2019

Harmony Hammond

Double Bandaged Quilt #1 (Horizontal), 2019

Signed, titled, and dated on verso

Oil and mixed media on canvas

57 x 104.5 in (144.78 x 265.43 cm)

Jennie C. Jones, Neutral Pitchless Measure, Rest, 2021

Jennie C. Jones

Neutral Pitchless Measure, Rest, 2021

Signed, titled, and dated on verso

Architectural felt and acrylic on canvas

48 3/4 x 48 x 2 1/2 in (123.8 x 121.9 x 6.3 cm)

Steve Locke, the suspect, 2010-2012

Steve Locke

the suspect, 2010-2012

Signed, titled, and dated on verso

Oil on canvas

36 x 42 in (91.4 x 106.7 cm)

Steve Locke, The Anxiety of Influence #1, 2020

Steve Locke

The Anxiety of Influence #1, 2020

Signed, titled, and dated on verso

Oil on birch panel

16 x 12 in (40.6 x 30.5 cm)

Steve Locke, The Anxiety of Influence #2, 2020

Steve Locke

The Anxiety of Influence #2, 2020

Signed, titled, and dated on verso

Oil on birch panel

16 x 12 in (40.6 x 30.5 cm)

Steve Locke, The Anxiety of Influence #5, 2020

Steve Locke

The Anxiety of Influence #5, 2020

Signed, titled, and dated on verso

Oil on birch panel

16 x 12 in (40.6 x 30.5 cm)

Steve Locke  Homage to the Auction Block #87a-naivete, 2021 

Steve Locke 
Homage to the Auction Block #87a-naivete, 2021 
Initialed and numbered on recto; signed, titled, and dated on verso Acrylic gouache on panel 
16 x 16 x 1/8 in (40.6 x 40.6 x 0.3 cm) 
17 1/4 x 17 1/4 x 2 1/4 in framed (43.8 x 43.8 x 5.7 cm framed) 

Steve Locke, Homage to the Auction Block #87b-edifice, 2021

Steve Locke

Homage to the Auction Block #87b-edifice, 2021

Initialed and numbered on recto; signed, titled, and dated on verso

Acrylic gouache on Claybord

16 x 16 x 1/8 in (40.6 x 40.6 x 0.3 cm)
17 1/4 x 17 1/4 x 2 1/4 in framed (43.8 x 43.8 x 5.7 cm framed)

Steve Locke, Homage to the Auction Block #117b-fulcrum, 2021

Steve Locke

Homage to the Auction Block #117b-fulcrum, 2021

Initialed and numbered on recto; signed, titled, and dated on verso

Acrylic on plywood

16 x 16 in (40.6 x 40.6 cm)

17 x 17 x 2 1/4 in framed (43.2 x 43.2 x 5.7 cm framed)

Lorraine O'Grady, Miscegenated Family Album (A Mother's Kiss), T: Candace and Devonia; B: Nefertiti and daughter, 1980/1994

Lorraine O'Grady

Miscegenated Family Album (A Mother's Kiss), T: Candace and Devonia; B: Nefertiti and daughter, 1980/1994

Cibachrome prints

16 x 20 in each (40.6 x 50.8 cm each)

37 7/8 x 27 1/2 x 1 5/8 in framed (96.2 x 69.8 x 4.1 cm framed)

Lorraine O'Grady, Miscegenated Family Album (Worldly Princesses), L: Nefertiti's daughter, Merytaten; R: Devonia's daughter, Kimberley, 1980/1994

Lorraine O'Grady

Miscegenated Family Album (Worldly Princesses), L: Nefertiti's daughter, Merytaten; R: Devonia's daughter, Kimberley, 1980/1994

Signed, titled, dated, and numbered on verso

Cibachrome prints

20 x 16 in each (50.8 x 40.6 cm each)

27 1/2 x 37 7/8 x 1 5/8 in framed (69.8 x 96.2 x 4.1 cm framed)

Edition of 8 plus 1 AP

Lorraine O'Grady, Miscegenated Family Album (Young Princesses), L: Nefertiti's daughter, Ankhesenpaaten; R: Devonia's daughter, Candace, 1980/1994

Lorraine O'Grady

Miscegenated Family Album (Young Princesses), L: Nefertiti's daughter, Ankhesenpaaten; R: Devonia's daughter, Candace, 1980/1994

Signed, titled, dated, and numbered on verso

Cibachrome prints

20 x 16 in each (50.8 x 40.6 cm each)

27 1/2 x 37 7/8 x 1 5/8 in framed (69.8 x 96.2 x 4.1 cm framed)

Edition of 8 plus 1 AP

Betty Parsons, Untitled, ca. 1951

Betty Parsons

Untitled, ca. 1951

Gouache on paper

10 5/16 x 8 1/16 in (26.2 x 20.5 cm)

(BP136)

Ronny Quevedo, every measure of zero (tropic of cancer), 2018

Ronny Quevedo

every measure of zero (tropic of cancer), 2018

Wax on dress maker wax paper

19 1/2 x 13 in (49.5 x 33 cm)

Ronny Quevedo, errant globe, 2015

Ronny Quevedo

errant globe, 2015

Soccer ball bladder and globe stand

12 x 9 3/4 x 7 1/2 in (30.5 x 24.8 x 19.1 cm)

Ronny Quevedo, composite armillary, 2020

Ronny Quevedo

composite armillary, 2020

Signed and dated on verso

Wax on dress maker paper

39 x 52 in (99.1 x 132.1 cm)

Ronny Quevedo, turntablism in the dark, 2020

Ronny Quevedo

turntablism in the dark, 2020

Metal leaf on carbon paper

24 3/4 x 21 1/4 in (62.9 x 54 cm)
27 3/4 x 24 1/4 x 1 5/8 in framed (70.5 x 61.6 x 4.1 cm framed)

Press Release

Frieze New York

The Shed 545 West 30th St | New York | Booth B10 

Preview (invitation-only): May 18–19, 2022
Public Days: May 20–22, 2022

Alexander Gray Associates presents an exhibition of recent and historical paintings, sculptures, and works on paper by seven Gallery artists, including Melvin Edwards, Harmony Hammond, Jennie C. Jones, Steve Locke, Lorraine O’Grady, Betty Parsons, and Ronny Quevedo.

Melvin Edwards is a pioneer in the history of contemporary African American art. Mozambique (ca. 1974)—one of the artist’s first painted sculptures—has a sinuous geometry that recalls the dynamic scalar riffs of jazz. Titled after the African country of the same name, the work emphasizes Edwards’s deep connection to southern Africa, where he has traveled frequently since the 1970s. The bright yellow, curvilinear forms of Mozambique are near-calligraphic, recalling Edwards’s characterization of all sculpture as “drawing in space,” and embodying the vibrancy and poetics of his practice.

Harmony Hammond’s recent paintings focus on materiality and the indexical, revealing deep ties to her feminist work from the 1970s while elaborating on those concerns. Double Bandaged Quilt #1 (Horizontal) (2019) continues her exploration of “material engagement,” building upon her previous series of Bandaged Grids and Chenilles. With a surface fashioned out of overlapping strips of burlap and canvas, Hammond’s Double Bandaged Quilt #1 (Horizontal) becomes a metaphorical body, a place where surface and skin meet.

Jennie C. Jones’s practice mines the spaces of distance and connection between visual and aural experience. Her minimalist paintings feature noise-absorbing materials such as architectural felt and acoustic panels as part of their compositions, visually illustrating aural experiences through innovative approaches to geometry, color, and materials. Always “active,” her work encourages viewers to anticipate sound even in the quietest of environments, underscoring the artist’s assertion that “listening is a conceptual practice all on its own.”

Across his practice, Steve Locke critically engages with the Western canon, using color, composition, and subversive conceptual frameworks to draw attention to ongoing racial violence. In his Homage to the Auction Block series (2019–present), Locke revisits Josef A. Albers’s iconic series, imbuing it with an ominous charge. Abstracting a slave auction block to its most basic geometric silhouette, the works in this series highlight the intertwined histories of modernism and race.

For more than four decades, Lorraine O’Grady has challenged cultural conventions. Her multidisciplinary practice utilizes the diptych as a tool to critique Western society. Mapping the intertwining of histories and identities through its diptych form, Miscegenated Family Album (Young Princesses), L: Nefertiti’s daughter, Ankhesenpaaten; R: Devonia’s daughter, Candace (1980/1994) pairs the artist's niece with ancient Egyptian imagery of Nefertiti’s child. Weaving together narratives that connect personal stories with past events, O’Grady presents both families—one ancient and royal, one modern and descended from slaves—as products of shared forces of migration and hybridization.

Betty Parsons began creating abstract paintings in the 1940s. Her untitled composition from the early 1950s embodies her signature approach to abstraction, featuring free-floating biomorphic forms against a bright red monochromatic field. Deeply influenced by the natural world, Parsons employed abstraction as a tool to convey how her surroundings made her feel, capturing what she once described as the “sheer energy” of a place.

Ronny Quevedo’s practice spans installation, drawings, and prints, imbuing abstraction with cosmic and cartographic iconographies and invoking pre-Colombian referents. In composite armillary (2020), Quevedo disarticulates and abstracts the celestial latitude and longitude lines of an armillary sphere using wax and dressmakers paper. Drawing upon Jack Whitten’s “composite perspective”—wherein all visual iterations and representations of space and time exist within one plane or action—composite armillary furthers the artist’s ongoing exploration of the interrelationships between space, labor, material, and identity through the boundless potentialities of abstraction.