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24 East 81st Street
New York, NY 10028
212 925 6190
Founded in 1987 in Soho, David Nolan Gallery specializes in modern and contemporary works by an array of international artists working in a variety of media. The gallery’s original mission was to exhibit contemporary works on paper along with paintings and sculptures by American and European artists and to produce monographs together with tightly curated historical exhibitions. The first solo show at the gallery – an exhibition of early drawings by Sigmar Polke - was followed by presentations of now-canonical German artists, including Georg Baselitz, Martin Kippenberger, Dieter Roth, Gerhard Richter, Rosemarie Trockel, and Albert Oehlen. In this same period, the gallery began showing works by major American artists including William Copley, Carroll Dunham, Fred Sandback, Al Taylor, and Barry Le Va.

In 1993, the gallery had its first exhibition with Richard Artschwager, which was succeeded the following year with a show of work by Scottish artist Ian Hamilton Finlay. In the late 1990s, the gallery introduced two further key American artists to the program, Jim Nutt and Peter Saul. Further growth was marked by the addition of New York-based artists Mel Kendrick and Steve DiBenedetto in the mid-2000s, a time that the gallery also began working more closely with the George Grosz Estate.

In 2007, the gallery mounted an important survey of contemporary Romanian art, which included work by Adrian Ghenie and Gabriela Vanga, alongside Ciprian Mureşan and Şerban Savu, both of whom continue to work with the gallery. The following year saw the gallery’s expansion and relocation to Chelsea, a move that was inaugurated by a major Artschwager exhibition along with the addition of gallery artists Julia Fish, David Hartt, Jonathan Meese, Wardell Milan, and Jorinde Voigt in the coming decade.

In Spring 2020, the gallery announced its newest location on the Upper East Side in a historic townhouse built in 1902 by architectural firm Buchman and Fox, inaugurated with an exhibition of works on paper by Jorinde Voigt.

Artists Represented:
The Estate of Richard Artschwager
The Estate of Ian Hamilton Finlay
Julia Fish
The Estate of George Grosz
David Hartt
Mel Kendrick
Barry Le Va
Jonathan Meese
Wardell Milan
Rodrigo Moynihan
Ciprian Mureşan
Jim Nutt
Christina Ramberg
Dorothea Rockburne
Șerban Savu
Eugen Schönebeck
Jorinde Voigt
Ray Yoshida
Works Available By:
Franz Ackermann
William Nelson Copley
Georg Baselitz
Hans Bellmer
Carroll Dunham
Mona Hatoum
Louis I. Kahn
Martin Kippenberger
Caroline Kryzecki
Elizabeth Murray
Albert Oehlen
Gabriel Orozco
Dieter Roth
Peter Saul
Al Taylor
Rosemarie Trockel
Andy Warhol
Franz West

Current Exhibition

David Hartt

Et in Arcadia Ego

April 22, 2022 - June 3, 2022
David Nolan Gallery is pleased to present an exhibition of new work by David Hartt entitled "Et in Arcadia Ego". The show at the gallery runs concurrently with the artist’s project at The Glass House in New Canaan, CT. The exhibition at the gallery opens April 22 and runs through June 3. The exhibition is made up of a new film, poster, tapestry, sculpture, and platinum print. Hartt’s film "Et in Arcadia Ego", commissioned by The Glass House, responds to Philip Johnson’s mid-century modern residence and the surrounding landscape. All works in the show are further explorations of Hartt's ethos; he does not seek to obscure, negate or rewrite history, rather to renegotiate its boundaries to invent and permit new pathways and realities.

Past Exhibitions

Julia Fish

Threshold/s with Hearth

March 10, 2022 - April 16, 2022
Julia Fish’s continued investigation into the architecture of her home and studio in Chicago provides the provisional context for the works on view. The titles of the paintings are rife with architectural reference: ‘plan’ suggesting the diagrammatic, intricate renderings relate to some three-dimensional ‘threshold’, the barrier of entry or exit between two individualized spaces, which becomes a whole. These signifiers are certainly clues, but to understand Fish’s practice means to decode the motifs, theories of color and light at play that are uniquely her own, allowing her to reverse engineer the construction of space. Fish subverts traditional architectural protocol, “working from house to plan”. The goal is not to create a facsimile that is purely accurate in a mathematical and logistical sense, but images that are subjective and intimate to reconstitute and expand the definitions of a ‘studio’, a ‘home’. In the wake of the pandemic lockdowns where periods of confinement prompted a heightened awareness of the place we call home, the works on view feel particularly potent and affecting. Fish’s exploration of chromatic spectra considers the issue of perception: the basic, foundational concept that colors are relational and define one another. Tonal gradation and complimentary placement create harmony and tension respectively. Fish harnesses the coding potential of color to represent directional, designated space and in effect, light. The complex systems embedded in Fish’s schematic paintings act as a key or a visual language. A demonstrated interest in processional narrative of the Renaissance predella, the multi-panel paintings of an altarpiece, where words fail and images communicate a sequence of events and passage of time, informs the structure and function of the works on view. In translating walls, floors, thresholds and the bricks and matter they are comprised of, Fish’s works both boom and whisper with synergistic melody. The reference to ‘scores’, the musical equivalent of a ‘plan’, recalls the rhythm and optical vibration that would invigorate Piet Mondrian’s Broadway Boogie Woogie (1942-43). The canvases pulse as they delineate into upper and lower registers. The ‘Hearth project’, conceptualized and realized by the artist, follows a thread of site-specificity inherent to all of Fish’s work. The gallery’s move to the Upper East Side in 2020 created opportunities for provocative installations that considered the relationship of the distinct architecture of the space with the hanging and positioning of artworks. Embracing this challenge, Fish was intrigued by the hearth, the area in front of the fireplace where she would designate her installation. The intervention, as she would call it, applies the same aforementioned system of color coding, based on spatial directionality, to establish formal links between the paintings, the room where they are displayed and the artist’s studio/home.

Richard Artschwager


March 10, 2022 - April 16, 2022
In the adjacent gallery is a presentation of drawings by Richard Artschwager made in the mid 1970s. Six objects would be the source of Artschwager’s multi-decade obsession: Door, Window, Table, Basket, Mirror, Rug. His compulsion to render these interior things would prompt drawings, paintings, objects and multiples, illustrating the extent of his preoccupation. Notably, his installation Six in Four, commissioned by the Whitney Museum of American Art in the Renzo Piano designed structure, would attempt to investigate the six objects in the span of four elevators. In each study, he would exaggerate perspective, surface and scale in different ways, often to comical, absurd effect. Artschwager analyses these architectural objects with the same unending devotion of Fish, albeit with his signature wry wit and surrealist humor.

Rodrigo Moynihan

The Studio Paintings, 1970s & 1980s

January 20, 2022 - March 5, 2022
David Nolan Gallery is pleased to announce the gallery’s first solo exhibition of work by Rodrigo Moynihan, Studio Paintings, 1970s & 1980s, which will be on view from January 20 through March 5, 2022. A catalogue with text by John Yau accompanies the exhibition. Rodrigo Moynihan was born in Tenerife, Spain in 1910 to a Spanish mother and an English father. Moynihan would spend much of his adult life in London, where he established himself as the premiere portrait painter in the United Kingdom, which led to his appointment as the head of painting at the Royal College of Art. Under Moynihan’s auspices, the Royal College became the hub of the British art world, as Francis Bacon occupied Moynihan’s studio, and Leon Kossoff, Frank Auerbach, Peter Blake and David Hockney were students. Showing in London, Paris and New York, his paintings would oscillate between abstraction and figuration, but always prioritized the medium itself, emphasizing painterly strokes and deft gesture. In the early 1970’s, Moynihan began making a series of still lifes comprised of tools of a painter’s trade haphazardly strewn on tables and shelves. Of these works the artist said: “It was especially important to me not to arrange the still life so as to form a pictorial grouping—a picture. I wanted the objects to be found…so that the dictionary words of describing an object disappear. I wanted to paint them because they looked like that—without my intervention—having arranged themselves like that in that particular light.” Adopting the form of a tondo, Roman Head, Bottles & Paint Tubes presents these such items, not as props, painstakingly placed in a strategic arrangement, but instead in their natural resting state as Moynihan would encounter them each day. While the use of circle shaped canvas dates back to the Renaissance, the effect on Moynihan’s compositions is like that of a telescope, honing in on specific areas of a larger scene. The artist’s mastery of natural light is evident in the subtle hues of grey that characterize the background and the glinting liquid-filled bottles that sit atop a shelf. The condition of Moynihan’s subjects, nearly empty, crumpled, half-used, weathered, signify there is life before and after the moment captured in the paintings. Alongside these works, Moynihan painted numerous self-portraits, recording himself reflected in a mirror. The gold edge of the mirror acts as both a framing device and a compositional element; it changes angle and migrates throughout each canvas. These self-portraits show a contemplative painter in his later years, inextricably bound to his medium and life’s work. They also connect him with Diego Velázquez, whose court paintings were filled with humanity and physicality, and who notably recorded his own presence in his masterpiece, Las Meninas. Looking at Summer Interior, we see the painter at work, easel in hand before his canvas, starting outward into the mirror. Shirtless and nonchalant in the hot seasonal air, bathed in tonal yellow sunlight, his gaze appears unflinching as he depicts his own semblance. As the viewer’s eyes meet his, we briefly consider that we are the sitters, until the mirror grounds the composition and implies we are merely spectators happening upon a candid, private instance in the studio. There is a quiet confidence in Moynihan’s brushstroke, particularly in these mature paintings, that renders the canvases instinctual, where his personhood and profession are one and the same, defined by each other. But perhaps what draws the contemporary viewer to Moynihan’s work is not its connection to disciplines of time past, rather how it reassesses the terms and principles of the medium, such as composition, subject and light. Moynihan’s canvases lack pretention, favoring swift gesture over tireless reworking, suggesting that these objects and even himself, are only temporarily frozen, forever shifting, moving and eventually, ceasing to be. As the objects and Moynihan move in and out of frame, we’re forced to consider where they go. People age, paint tubes go empty, newspapers are discarded, nothing is untouched by the hands of time.

Dorothea Rockburne

Giotto's Angels & Knots

October 15, 2021 - December 23, 2021
David Nolan Gallery is pleased to announce the gallery's first solo exhibition with Dorothea Rockburne entitled "Giotto's Angels and Knots". The show will feature four new bodies of work: the Trefoils, the Blue Collages, the Angels and the Giotto Drawings as well as two free-standing sculptures.

Jorinde Voigt

Trust and Rain

August 26, 2021 - October 2, 2021

Richard Artschwager, Charles Burchfield, Thomas Hart Benton, Steve DiBenedetto, John Dilg, Walker Evans, Julia Fish, George Grosz, Nate Lowman, Jack Pierson, Ugo Rondinone, Serena Stevens, Joseph Yoakum

The American Landscape

August 26, 2021 - October 2, 2021

Lynda Benglis, Chuck Close, Robert Duran, Ralph Humphrey, Barry Le Va, David Novros, Brice Marden, Paul Mogensen, Deborah Remington, Dorothea Rockburne, Alan Saret, Richard Van Buren, Joe Zucker

13 Artists: A Tribute to Klaus Kertess' Bykert Gallery, 1966-75

June 3, 2021 - July 30, 2021
David Nolan Gallery is delighted to present 13 Artists: A Tribute to Klaus Kertess’ Bykert Gallery 1966-75. The exhibition includes work by Lynda Benglis, Chuck Close, Robert Duran, Ralph Humphrey, Barry Le Va, Brice Marden, Paul Mogensen, David Novros, Deborah Remington, Dorothea Rockburne, Alan Saret, Richard Van Buren and Joe Zucker. David Nolan Gallery currently occupies the same building as the indelible Bykert Gallery once did, where the spirit of an artist-centric, exhibition-forward space continue to guide the program.

Mel Kendrick, David Hartt and Wardell Milan

April 15, 2021 - May 29, 2021
David Nolan Gallery is pleased to present an exhibition of new and recent works by Mel Kendrick, David Hartt and Wardell Milan. The presentation augments and creates a dialogue between current and forthcoming institutional exhibitions by the artists: a career-spanning traveling survey of Mel Kendrick’s work is currently on view at the Addison Museum of American Art in Andover, MA; Hartt’s work is included in the landmark exhibition Reconstructions: Architecture and Blackness in America at the Museum of Modern Art, NY, and is the subject of a solo exhibition at the Glass House, New Canaan, CT; and Wardell Milan will be the subject of his first museum solo exhibition at the Bronx Museum, opening in June 2021.

Jonathan Meese


February 4, 2021 - March 27, 2021
New paintings, sculptures and works on paper

Brígida Baltar, Monica Bonvicini, Chakaia Booker, Hana Miletić, Gabriela Salazar

As Above, So Below

December 1, 2020 - January 31, 2021
David Nolan Gallery is pleased to present "As Above, So Below,” a group exhibition featuring Brígida Baltar, Monica Bonvicini, Chakaia Booker, Hana Miletić, and Gabriela Salazar. The exhibition gathers five international artists active across disparate media and disciplines, united in their unwavering commitment to materials and paradoxical potential for transformation and regeneration.

Barry Le Va

October 9, 2020 - November 20, 2020
Widely recognized as a leading figure of Postminimalism alongside peers Bruce Nauman, Dorothea Rockburne, Richard Serra, and Robert Smithson, among others, Barry Le Va’s influential and elusive practice emerged in the mid-to-late 1960’s in stark contrast to the monolithic, geometrically rigid, and stagnant sculpture of the time, instead championed transience and impermanence, and favored soft, humble materials, twisted and clustered, and deeply invested in physics, psychology, and architecture. Le Va’s sculptural works are generally the result of an active process of distributing, spilling, scattering, blowing, layering, dropping, and throwing. The distribution of materials allows them to unfold in situ, in sequence and in relation to other conditions, over time. Le Va’s dispersals ultimately push the notion of sculpture to its formal limits: "To eliminate sculpture as a finished, totally resolved object. To eliminate a sense of wholeness and concentrate on parts, fragments, incomplete activities and structures. To emphasize transitional stages of an activity or many activities with no foreseen end…I had to eliminate a contained mass – expand it, extend it…Real time, real space, real locations, real reasons.”

Jorinde Voigt

Jorinde Voigt: The State of Play

March 18, 2020 - May 2, 2020

Group exhibition

Duchamp Threads the Needle

February 6, 2020 - March 14, 2020
Rita Ackermann, Robert Arneson, Mike Bidlo, Theaster Gates, Liam Gillick, Kim Jones, Juul Kraijer, Michael Landy, Sherrie Levine, Andrew Mania, Christian Marclay, Robert Morris, Richard Pettibone, Analia Saban, Michael St. John, Jean Tinguely, Mark Wallinger, Robert Watts, and Andrea Zittel.

Wardell Milan

A Project by Wardell Milan: The Balcony

February 6, 2020 - March 14, 2020

Barry Le Va

Barry Le Va: Part One. Drawings 1967 - 2017

November 14, 2019 - February 1, 2020
David Nolan Gallery is pleased to present Barry Le Va: Part One. Drawings 1967-2017, a survey of works on paper spanning 50 years, on view through February 1, 2020. This is Le Va’s thirteenth solo exhibition at the gallery. Part Two: Sculpture will open in the spring of 2020. Barry Le Va (b. 1941, Long Beach, California) is regarded as one of the leading figures of Postminimalism and Process Art, and is recognized alongside peers Bruce Nauman, Dorothea Rockburne, Richard Serra, and Robert Smithson. Since the beginning of Le Va’s career in the 1960s he has consistently defied the traditional concept of sculpture as a contained stagnant form, instead championing chance and impermanence, and continuously responding to the environment around him. In Part One, we will present five decades of ceaseless innovation highlighting drawing as an equal half of Le Va’s artistic practice.

Wars: 20th and 21st Centuries

September 12, 2019 - November 2, 2019

And What About Photography?

June 20, 2019 - August 2, 2019

Wardell Milan

Parisian Landscapes, Blue Zenith

April 19, 2019 - June 1, 2019

The Eighties

February 28, 2019 - April 13, 2019

Richard Artschwager

Self-Portraits and the American Southwest

January 10, 2019 - February 23, 2019

Darboven, Le Va, Rockburne, Sandback, Saret, Sonnier

Drawing Space: 1970-1983

November 1, 2018 - December 21, 2018

Ian Hamilton Finlay

"The garden became my study"

September 13, 2018 - October 27, 2018

Parentheses: University of Pennsylvania MFA exhibition curated by David Hartt and Sharon Hayes

June 28, 2018 - July 26, 2018

Jorinde Voigt


May 4, 2018 - June 23, 2018