Nicole Klagsbrun

Home
United States
New York, NY
Nicole Klagsbrun

OFFICE:
526 West 26th Street Room 318
www.nicoleklagsbrun.com Nicole Klagsbrun Gallery was established in 1989 in New York City.

An advocate of independent thought, the gallery presents young emerging and mid-career artists who follow a tradition of contemporary innovation. Since its inception, Nicole Klagsbrun Gallery has been a consistent force in the international contemporary art world and has built a reputation for successfully identifying new talent and nurturing careers of artists such as Bas Jan Ader, Matthew Day Ja

ckson, Jay DeFeo, Jimmie Durham, John Giorno, Candida Höfer, Rashid Johnson, Karen Kilimnik, Adam McEwen, John Pilson, Mika Rottenberg and Karlheinz Weinberger.

10/31/2024

Cameron, “Fairy Queen,” 1962, ink and dyes on parchment

22.25 x 20 inches (frame)
56.5 x 50.8 centimeters
17 x 14.25 inches (image)
43.2 x 36.2 centimeters
(CAM08)
_____
Courtesy the Cameron Parsons Foundation, Santa Monica

09/26/2024

Cameron was selected by Laura Hoptman to be included in The Drawing Center’s 2024 Benefit Auction, which brings together thirty-five artists, curators, and art lovers from the community to examine why we are drawn to some artworks over others. Each guest curator will present a selection of five or more works on paper by artists they admire. Works will be on view from Thursday, September 26 through Monday, September 30, and will be available for purchase through a silent auction benefiting The Drawing Center and participating artists.

The auction will conclude with a party in The Drawing Center galleries on September 30, from 6–9pm. https://drawingcenter.org/programs/2024-benefit-auction
___
Cameron, Pluto Transiting the Twelfth House, 1978-1986. Ink on paper, 12 x 9 inches (unframed). Courtesy of the Cameron Parsons Foundation, Santa Monica.

09/03/2024

Open September 3 - September 26, 2024
-
Anna Betbeze
George Ohr
Nari Ward

Gallery Hours: Tue and Thur 11am-6pm
and by appointment

07/18/2024

Beautiful pieces by Sheree Hovsepian on view in “The Selves” at Nicola Vassell.
___
“The Selves”
Nicole Vassell
27 June - 9 Aug 2024

07/02/2024

“Untitled (from the Fossil series),” (n.d) by Cameron is currently on view in “Greener Than Grass and Almost Dead” at Klaus von Nichtssagend Gallery. Exhibition organized by Mark Armijo McKnight, June 28 - Aug 2.

__

[Cameron, “Untitled (from the Fossil series),” n.d, White gouache on paper 12 x 18.75 inches, 30.5 x 47.6 cm (CAM798)]

06/13/2024

Keith Sonnier: Inside Light, 1968-1970 at David Kordansky Gallery NY, June 22 - August 9, 2024

05/28/2024

Nari Ward (St. Andrew, Jamaica, 1963), lives and works in New York. Nari Ward is best known for his wall and installation-based sculptural works created from materials frequently found and collected throughout Harlem, his longtime neighborhood. Ward combines these materials to re-contextualize their original meanings, creating assemblage works that confront complex social and political realities, often surrounding race, migration, democracy, and community through literal and metaphorical juxtaposition. Materially specific but intentionally ambiguous in their signification, Ward’s works encourage the viewer to explore many possible interpretations. Themes of memorial, remembrance, and societal relationships have permeated Ward’s practice. Constructed of discarded fire hoses and tires Ward’s, Anon; Three Boxes Two Tires, 1993 carries undertones on commemoration, community, and the reclamation of public space are explored through the medium of public streets.

____

Nari Ward
“Anon; Three Boxes Two Tires”
1993

mixed media, firehose, tires
Variable
(NW01(NKG))

05/11/2024

Installation shot from Nari Ward’s piece Happy Smilers: Duty Free Shopping (1996), showing as part of his current retrospective at Pirelli HangarBicocca in Milan, Italy. In this specific piece, the perimeter of the room is lined with a corridor constructed of household furniture tied together with fire hose, a recurring theme in Ward’s work. Ward’s juxtaposition of materials meant to invoke multiple associations is especially present in this kind of early work. The use of mixed media with firehose and tire is emblematic of the assemblage works he has created throughout his practice. This installation, created in 1996, criticized tourism and commercialization of cultural identities. The work also includes plastic soda bottles, fire hose, fire escape, salt, audio, speakers, and an aloe vera plant.

Installation shot of Anon; Three Boxes, Two Tires, at Nicole Klagsbrun Gallery, featuring similar elements of social signification through found and discarded material. Symbolism conveying the complex social and political realities of the neighborhood of Harlem, New York can be found throughout his activity as an artist since the 1990’s. Provocative installations containing numerous themes of race, migration, democracy, continue to elicit complex reactions even as their original narratives become lost to time.

05/10/2024

In 1984, Nicole Klagsbrun and Clarissa Dalrymple opened Cable Gallery in the Cable Building at 611 Broadway. The gallery became known for establishing the work of artists such as Ashley Bickerton, Barbara Ess, Christopher Wool, Dan Graham, and Haim Steinbach. Spring of 1984 marks the anniversary of its first show titled "Works on Paper." This first show featured David Deutsh, James Nares, Ellen Phelan, Kiki Smith, Pat Stair, Charles Stockly, and Robin Winters. The gallery was the site of early solo exhibitions of Ashley Bickerton, Steve DiBenedetto, Collier Schorr, Haim Steinbach, Philipe Thomas, and Christopher Wool, among others.

Installation shot from James Nares’s first solo show at Cable Gallery, which opened May 5th, 1984.

05/09/2024

Rashid Johnson (Chicago, IL, 1977), works across the disciplines of painting, sculpture, photography, and video, Johnson’s practice is defined by its critical evocations and entangling of racial and cultural identity, African American history, and mysticism. Many of his early works took the form of conceptual photography, though Johnson eventually expanded his practice to include wall-based works that engage the legacy of painting, sculptural installation, and assemblage, using materials like soap, wax, and shea butter, books, records, glass, and incense. “The goal,” Johnson explains, “is for all of the materials to miscegenate into a new language, with me as its author.” Johnson also exercises a range of mark-making techniques—like scoring, scraping, engraving, and branding—using self-made tools. In a 2013 interview, Johnson states, “I started thinking about this kind of domestic material and taking it into a place where it would not necessarily expect to find itself. I’ve always considered the artist as almost a magician-like character who grants agency to materials to allow them to be elevated into objects that we admire.”
___

Rashid Johnson
“Prayer Song”
2011

Black soap, wax
72.5 x 48.5 x 2.5 inches 184.2 x 123.2 x 6.4 cm (RJ127(NKG))

05/04/2024

George Ohr (Biloxi, Mississippi,1857-1918), American ceramic artist and self-proclaimed “Mad Potter of Biloxi” was active from 1879 to around 1910. He began to alter his wheel-thrown shapes, forcing pots to twist or buckle while manipulating the forms by hand through folding, indenting, and ruffling. Even with many of the pieces severely burned in an 1894 fire that destroyed his studio, Ohr salvaged many of the works calling them his “burned babies.” After the re-establishment of his studio, Ohr became even more committed to his new approach to form, producing his well-recognized thin-walled, thin-skinned, crushed, folded, and dented vessels. Ohr’s practice shatters the conventions of ceramics, anticipating modern and contemporary movements, including American Abstract Expressionism and Post-Minimalism.
___

Left to Right:

George Ohr, “Puzzle Mug,” 1895-96, glazed earthenware, 3 1/2 x 4 3/4 x 3 inches, stamped signature (GO46)

George Ohr, “Vase,” 1897-1900, glazed earthenware, 4 3/4 x 5 inches diameter, stamped signature (GO52)

George Ohr, “Flaring pot, red inside,” 1895-96, glazed ceramic, 2 1/2 x 4 1/2 x 4 1/2 inches, Stamped G.E. Ohr, Biloxi (GO28)

George Ohr, “”Burnt Baby” Teapot with fused lid,” before 1894, 3 3/4 x 6 1/4 x 3 3/4 inches (GO49)

05/02/2024

Keith Sonnier
“Curtain Study”
1964/1968

Double stainless steel mesh over lead 6.5 x 39 x 2.5 inches
62.99 x 70.87 inches
(KS04(NK)

—
Keith Sonnier (Mamou, Louisiana, 1941-2020), is a post-minimalist American artist who began his career in New York City in the 1960s, Sonnier redefined sculpture by using materials and techniques that were previously restricted to the hardware store. Sonnier’s wall sculptures from the File Series, before incorporating light and technology, were tied to the five senses; how things felt; how things smelled; and how things could be heard. He was part of a new generation of sculptors who were not using the older sculptural techniques or materials anymore. Sonnier speaks about his approach, “when I approached these new materials, it was as though I was investigating the kinds of techniques that were common to everyday experience, like wrapping, stuffing, mixing or even upholstering.” The construction of the File pieces can be traced to a childhood observation of his mother upholstering living room furniture. The act of upholstering relies on layering and padding and sourcing a variety of materials. Sonnier’s use of transparent and translucent materials emphasizes the layered nature of this series of works, placing one thing in front of another thing, in front of yet another. The basis of this work is upholstery, and then translucency because it was one skin on top of another skin.

04/25/2024

Opening May 1st 2024

Rashid Johnson
George Ohr
Keith Sonnier
Nari Ward

04/18/2024

Nicole Klagsbrun with Patti Astor, Bill Stelling and Anita Sarko at the opening of Dondi’s exhibition at the Fun Gallery in the East Village on February 4, 1982

04/11/2024

Nicole Klagsbrun loves her work by Fab 5 Freddy (Fred Brathwaite), “Car” that she bought from Patti Astor at the Fun Gallery in 1981.

___
Image 1: Fab 5 Freddy (Frederick Brathwaite), “Car,” 1981, spray paint and enamel on canvas, 64 X 48 inches (FB01(NK))
Image 2: Patti Astor at the entrance to the first FUN Gallery space, on East 11th Street, New York, 1982. Photo: Anita Rosenberg

04/09/2024

In 2011 Nicole Klagsbrun Gallery presented “Wilderness,” an exhibition of photographs and installation work by Xaviera Simmons.

The press release for the show read, “observations on natural and urban environments as they relate to social, political, personal and art histories set the stage for Simmons’ photographs. Alluding to traditions of American landscape painting and depictions of the human presence within it, carefully chosen scenery is employed as a hybrid, multivalent character harboring complex immigrant and migrant histories, an agent affecting and affected by the figures that inhabit it. Sages and nomads pose and roam through archetypal locales as conduits for the “nebulous” and “nonlinear” narratives embedded in the ground, allowing entrance into, in the artist’s terms, “other characters, narratives, and geographies.”
Hand-lettered, locally found wooden scraps affixed directly to the gallery wall comprise a sculptural installa- tion of materials chosen for their ubiquitous use in vernacular signage worldwide. Simple painted signposts are re-imagined in a tangled matrix of fragmented, visually compelling text gleaned from notes, conversation, news articles, myth, folklore, poetry and literature, forming a disjointed tableau imbued with collective and personal memory. A lyrical, obscure landscape emerges from the cacophonous accrual of language, leaving accumulated association and uncanny, conjured atmosphere to form meaning and perception.

Established or potential identities and histories are revealed to be as unstable as they are embedded, question- ing notions of idealism and the fallibility of truth and falsehood. Reflecting on the ways photographers collect and own images, and how people define and are marked by their environs, Simmons offers a deluge of details in place of narrative to construct familiar landscapes from disparate parts.”

04/08/2024

Installation shots of “Something Like This,” Clara William’s first solo exhibition in New York at Nicole Klagsbrun Gallery, on view from January 4 to February 2, 2002.
___
In a New York Times article by Roberta Smith wrote, in “‘Something Like This,’ Clara Williams’s solo debut, is at once clever and sincere. It turns the ubiquitous white-cube gallery into a winter wonderland. It conflates 19th-century history painting with the 19th-century natural-history diorama. And it restates installation art, 1980’s appropriation art and 90’s abject art in the terms of her own generation’s penchant for hyperrealism, history and academic art.

There are indications of a middle road in the form of two engaging, less hyperreal sculptures of Nicole Klagsbrun’s perky West Highland terrier, Mimosa, one stationed in each gallery. They stand around expectantly, as dogs do, connecting the gallery’s real white space with the artist’s imaginary one.”

04/08/2024

Nicole Klagsbrun presented “Dough,” a solo exhibition of videos, sculptures, and drawings by Mika Rottenberg from January 27th to February 25th in 2006.

Roberta Smith for the NYT wrote “in her New York gallery debut, and her third major piece to be seen in New York in two years, Mika Rottenberg continues to combine video and installation to create a claustrophobic, boxed-in space that feels like the center of an alternative but all-too-familiar universe.

In addition to its rich social, physiological and sculptural metaphors, Ms. Rottenberg’s work is distinguished by an elaborate interplay of hisses, plops and creaking. Conflating creation myth, sweatshop and beauty parlor, the work also combines real and video space. Viewers are confined to a small, tacky structure like those on the screen, yet we also move through the system with the all-seeing camera — like a parasite. On the way out, crossing a raised platform covered with linoleum, you may notice water falling drop by drop on a heated square, incessantly ceasing to exist.”
__
Installation shots of “Dough,” January 27 thru February 25, 2006 at Nicole Klagsbrun Gallery, 526 West 26th Street, room 213, New York.

Address

526 W 26th Street Room 318
New York, NY
10001

Website

http://viewingroom.nicoleklagsbrun.com/

Alerts

Be the first to know and let us send you an email when Nicole Klagsbrun posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Museum

Send a message to Nicole Klagsbrun:

Videos

In the New York Times! Come visit us, through Sep 11 @nytimes @willvheinrich @hervebizegalerie @independent_hq #independent20c

Shortcuts

About Us

Nicole Klagsbrun Gallery was established in 1989 in New York City. An advocate of independent thought, the gallery presents young emerging and mid-career artists who follow a tradition of contemporary innovation. Since its inception, Nicole Klagsbrun Gallery has been a consistent force in the international contemporary art world and has built a reputation for successfully identifying new talent and nurturing careers of artists such as Bas Jan Ader, Matthew Day Jackson, Jay DeFeo, Jimmie Durham, John Giorno, Candida Höfer, Rashid Johnson, Karen Kilimnik, Adam McEwen, John Pilson, Mika Rottenberg and Karlheinz Weinberger.