new-york

Judit Reigl, Untitled, 2010, ink on paper, 29 1/2 x 53 3/4".

Judit Reigl

Ubu Gallery

Judit Reigl, Untitled, 2010, ink on paper, 29 1/2 x 53 3/4".

A handful of paintings in New York museums is scant guarantee that the name Judit Reigl will ring a bell here in the United States; her status is likely different in France, where her long career began in 1950 following a harrowing escape from her native Hungary in the wake of its absorption into the Soviet Bloc.

Having reached France, Reigl was drawn to the ossified circle of André Breton, briefly taking on and as quickly throwing off an illustrative mode recalling that of Victor Brauner and Max Walter Svanberg (rather dim Surrealist luminaries for whom Breton was then tub-thumping), but remaining faithful to the automatisms that mark Breton’s important theoretical contributions to Surrealism. Of these, l’écriture automatique would come to play a preponderant role in both her painting and her drawing.

The present exhibition at Ubu Gallery contains only Reigl’s automatic works, many

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