Marjorie Welish


More Articles by Marjorie Welish

Tom Doyle, Swallows Swoop Shiloh, 1965. Polychrome wood and steel, 68 x 57 x 72 inches. Courtesy of Tom Doyle and Zürcher Gallery
Monday, February 7th, 2022

Gravity and Levity: Tom Doyle in the mid-1960s

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Sculpture made in Germany 1964-65 was shown last fall at Zürcher Gallery

Installation shot of Richard Rezac's show at Luhring Augustine Chelsea, with Chigi, 2017 in the foreground
Tuesday, July 27th, 2021

The Entwining of Image and Object: Richard Rezac’s Sculpture

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His first New York show in ten years was at Luhring Augustine this summer

Wednesday, December 23rd, 2020

Building Blocks: Thomas Scheibitz at Tanya Bonakdar

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“Didactic and ludic in equal measure,” a bracing show of new work

Richard Rezac, Soliloquy, 2019. Aluminum, cast bronze, painted cast aluminum, 9-1/4 x 34 x 13 inches. Courtesy of Luhring Augustine
Monday, October 5th, 2020

The Entwining of Image and Object: Richard Rezac’s Sculpture

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His first New York show in ten years was at Luhring Augustine this summer

Helio Oiticica, Metaesquema 212, 1957. Gouache on board, 16.6 x 19.5 inches. Courtesy of Galerie Lelong & Co., New York
Thursday, November 29th, 2018

The Source of Growth and Change: Hélio Oiticica at Galerie Lelong

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Early forays into abstraction by the Brazilian master

Saturday, December 30th, 2017

Wired for Sound: Julianne Swartz at Josée Bienvenu

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Exhibition on view in Chelsea through January 13

Friday, October 27th, 2017

Visualizing Historicism: Mary Kelly’s Personal Reckoning

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Life examined through the prism of feminist engagement, at Mitchell-Innes and Nash through November 22