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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
Chakaia Booker
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
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

Billy Al Bengston, Norman Bluhm, Lee Bontecou, Louise Bourgeois, John Chamberlain, Jim Dine, Rosalyn Drexler, Jean Dubuffet, Claire Falkenstein, Dan Flavin, Julio González, Joe Goode, Grace Hartigan, Alex Hay, Hans Hofmann, Robert Indiana, Alfred Jensen, Alex Katz, Paul Klee, Joan Mitchell, Louise Nevelson, Pablo Picasso, Richard Stankiewicz, Paul Thek, Bob Thompson, Andy Warhol

MAD WOMEN | Kornblee, Jackson, Saidenberg, and Ward | Art Dealers on Madison Avenue in the 1960s



September 8, 2022 - October 22, 2022
Curated by Damon Brandt and Valentina Branchini David Nolan Gallery is pleased to announce MAD WOMEN, an exhibition profiling pioneering women gallerists Jill Kornblee, Martha Jackson, Eleanore Saidenberg, Eleanor Ward, and their respective exhibition programs that flourished along Madison Avenue in the 1960s. During a complex and fraught decade in American history, each of these groundbreaking women became an essential and defining part of the contemporary cultural landscape, all of which remains relevant today. Madison Avenue, located on an Uptown-Downtown axis in Manhattan, is the ideal retail destination between the residential gold coasts and museums of Fifth and Park Avenues. Shops and galleries proliferated in the 1950s and 1960s along or close to Madison Avenue, forming a robust inter-connected community that catered to an expanding and inquisitive audience. Influential art critics Lawrence Alloway, John Ashbery, Dore Ashton, John Canaday, and Donald Judd were frequent Saturday afternoon visitors, moving amongst a fluid crowd of well-heeled clients and penniless young devotees of the more freewheeling Downtown art scene. Every Friday, The New York Times ran an expansive black and white patchwork quilt of printed ads, calling attention to the extraordinarily diverse array of the best of both European and American artistic creativity. It was in the midst of this fertile urban avenue of art and commerce that the Kornblee Gallery, Martha Jackson Gallery, Saidenberg Gallery, and Stable Gallery flourished. In 1955, Eleanore Saidenberg, no doubt over the protestations of her almost exclusively male competition, was awarded the sole representation of Picasso for North America. Armed with an already vibrant classical exhibition program that included Paul Klee, André Masson, Julio González, and Jean Dubuffet amongst others, throughout the 1960s she became an early inspiration, mentor, confidant and supporter of the neighboring Madison Avenue dealers working in the often more arduous and volatile contemporary art field. It was an extension of her character and the professional concern for her colleagues that she became a founding member of The Art Dealers Association of America (ADAA). Jill Kornblee, a reserved and intense graduate of Bryn Mawr College, opened her first gallery in 1961, moving soon after to 58 East 79th Street, where she quickly earned a reputation for being a dealer of astute intellectual and aesthetic vision. She gave inaugural exhibitions to such maverick talents as Michelangelo Pistoletto, Dan Flavin, Rosalyn Drexler, and Alex Hay. Further down Madison Avenue, often dressed in Dior, Eleanor Ward reigned over Stable Gallery for close to twenty years with a similarly impressive roster of fresh talent, including Andy Warhol, Paul Thek, Marisol, and Joan Mitchell. Quoting Dore Ashton, “Eleanor [Ward] injected the art scene, which sometimes seemed a little bland, with a sense of urgency. Her decision, at a key time in American art, made Stable important.” Ward suddenly closed the gallery in 1970, when she felt “the art world had gotten too commercial. Although some dealers may get a ‘high’ from their sales, that aspect was far less interesting to me than discovering new artists, selecting work and installing the show itself.” Less than six blocks away from Ward, Martha Jackson worked her own brand of personality and magic, a kindred spirit to Ward and Kornblee in both her evangelical approach to being an artist-centric dealer and emotional commitment to cutting edge contemporary art. Early exhibitions of such future art world luminaries as John Chamberlain in 1960, Lucio Fontana in 1961, Louise Nevelson in 1963, and Bob Thompson in 1964 are just a part of this compelling story until her untimely death in 1969 at age 62. Where ultimately only four dealers became the necessary curatorial focus of this exhibition, it should be noted that there were a heartening number of other quality galleries run by women along Madison Avenue at that time: Grace Borgenicht, Antoinette Kraushaar, Helen Serger, Marian Willard, Virginia Zabriskie, Gertrude Stein, and even a young Paula Cooper (then under the name of Paula Johnson) either initiated, nurtured, or inherited serious and well considered programs that warrant acknowledgment. Jill Kornblee, Martha Jackson, Eleanore Saidenberg, and Eleanor Ward each possessed that essential talent of a keen and prescient eye working in tandem with an innovative and responsive approach to a business that was often as challenging as it was rewarding. Their shared passion and courage, exemplified by the advocacy and connoisseurship reflected in each of their exhibition programs, remain a testament to a tenacity and brilliance that is worthy of closer attention. In a curatorial celebration of the very artists that helped define their respective legacies, it is our pleasure to bring these four women together, examine their extraordinary careers, and highlight the connective tissue that bound them together in a special time and place.

 
Upcoming Exhibition

Paulo Pasta

Paulo Pasta: Recent Paintings



November 4, 2022 - December 23, 2022
David Nolan Gallery is delighted to announce a solo exhibition of new and recent paintings by Paulo Pasta, marking the Brazilian artist’s first presentation in all North America. Paulo Pasta has established himself as one of the prolific and revered painters of abstraction in his native Brazil. Pasta’s practice is dedicated to collapsing the passage of time into fields of color and geometries of lines and crosses. The elegant and poetic works are representations of imagined space, where parallel, perpendicular diagonal lines suggest a metaphysical architecture. Rendered in pastel hues of oil paint that the artist hand mixes to perfect tonality, the work recalls that of Mexican architect, Luis Barragán. Drawing endless inspiration from São Paulo, Pasta creates “landscapes” of a different type, mainly through memory. He considers his process synthetic, a sensitive imagining of invented and realized space. Pasta’s work draws from various art historical traditions in terms of aesthetic, color and motivation. From Morandi, came Pasta’s embrace of subtlety and simplicity, particularly in terms of color palette and chromatic variation; from Giotto, a fascination with the temporal suspension which emanates from his frescos. "To approach one of Pasta’s abstractions is to enter a world in which everything is simultaneously objective and entirely relational. His structures are created with an almost deadpan structure of interlocking planes, but the interaction of colours is such that they generate a marvelous vibration that makes the experience of looking at the work sensual and seductive. The rational and the sensual interact seamlessly in his compositions. In this dialogue between reason and feeling, Pasta is reflecting on one of the most distinctive aspects of the history of abstract art in Brazil." -Gabriel Pérez-Barreiro, "Paulo Pasta: Between Landscape and Abstraction" Pasta holds a PhD in Fine Arts from the University of São Paulo, Brazil. He has been the subject of solo exhibitions at the Museu de Arte Sacra de São Paulo, Brazil (2021); Simões de Assis Galeria de Arte, Curitiba, Brazil (2019); Instituto Tomie Ohtake and Anexo Millan, São Paulo, Brazil (2018); Galeria Carbono, São Paulo, Brazil, and Paulo Darzé, Salvador, Brazil (2017); Palazzo Pamphilj, Rome, Italy (2016); Galeria Millan, Anexo Millan and Museu Afro Brasil, São Paulo, Brazil (2015); Sesc Belenzinho, São Paulo, Brazil (2014); Fundação Iberê Camargo, Porto Alegre, Brazil (2013); Centro Cultural Maria Antonia, São Paulo, Brazil (2011); Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil (2008); Pinacoteca do Estado de São Paulo, Brazil (2006); among others. Pasta's work is featured in various collections, such as Pinacoteca do Estado de São Paulo, Brazil; Museum of Modern Art of São Paulo, Brazil; Museu de Arte Moderna do Rio de Janeiro, Brazil; Museo de Arte Contemporáneo de la Universidad de São Paulo, Brazil; Museu Nacional de Belas Artes do Rio de Janeiro, Brazil; Colección Patricia Phelps de Cisneros, New York, USA; and Kunsthalle Berlin, Germany, amongst others.

 
Past Exhibitions

Bill Bollinger, Peter Gourfain, Barry Le Va, Brice Marden, David Rabinowitch, Dorothea Rockburne, Paul Sharits, Richard Van Buren, Joe Zucker

A Tribute to Klaus Kertess' Bykert Gallery 1966-75, Part II



June 9, 2022 - July 29, 2022
David Nolan Gallery is pleased to present the second iteration of our homage to Klaus Kertess’ Bykert Gallery, which runs from June 9 through July 29. Bykert Gallery, which existed in the same building as the current David Nolan Gallery, operated from 1966 to 1975. The gallery’s program and exhibitions were led by the formidable curatorial eye of Klaus Kertess, who went on to hold positions at the Parrish Art Museum, Museum of Contemporary Art, Detroit and the Whitney Museum of American Art. Though the gallery’s doors remained open less than a decade, its impact on the New York art scene was vast, showcasing the then emerging talents of Lynda Benglis, Chuck Close, Brice Marden, Barry Le Va and Dorothea Rockburne. Evidenced by the decorated careers and accomplishments of these artists, Kertess had an uncanny ability to spot and nurture talent, even though the work was considered radical and risky at the time. The second installation of this show intends to shed light on other artists in the Bykert stable, with an emphasis on the work of Bill Bollinger. Bollinger’s sculpture activates the readymade tradition using a variety of materials like water, stone, wood, pipe and containers to directly express force – particularly gravity – and process. Given their extemporaneous nature, much of Bollinger’s sculpture pieces are reconstructed for the purpose of this exhibition. Thus, the artist’s drawings remain the most enduring and direct exposition of his ideas. In addition to a group of untitled “horizon line drawings,” two never shown stencil drawings are exhibited: Bollinger’s thesis drawing I Am Gravity, and Gravity’s Grey Eminence Among the Councils of the Living Stone, quoting from Thomas Pynchon’s novel Gravity’s Rainbow. One sculpture centers the exhibition. Isa’s Flower, first exhibited in Water is life and like art it finds its own level, Bollinger’s 1970 solo exhibition at Galleria Sperone, is installed in the gallery alongside the certificate drawing for the barrel/water pieces in the early Sperone show. Bill Bollinger’s investigations of materiality, temporality and commodity were challenging, daring, and largely influential. The presentation and selection of Bollinger’s work is curated with the assistance of Mitchell Algus. The exhibition will also display the conceptual symbiosis that links Bill Bollinger and Barry Le Va, creating a formal and aesthetic through line.

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.

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

Interiors



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

ACROSS THE UNIVERSE (DR. SPACE-ANIMALISM ,,E.A.G.L.E.": FLY LIKE AN EAGLE)



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

Wardell Milan

A Project by Wardell Milan: The Balcony



February 6, 2020 - March 14, 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.

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

Integral



May 4, 2018 - June 23, 2018