Olney Gleeson announces Jackson Pollock and Lee Krasner as representatives
Olney Gleason, a new gallery opened this year by former Kasmin gallery alums, will exclusively represent the work of pioneering Abstract Expressionist painter Jackson Pollock and his wife, Lee Krasner, through the Pollock-Krasner Foundation.
Olney Gleason, which opened earlier this year, was founded by Nick Olney and Eric Gleason and is the successor to Kasmin Gallery, whose namesake founder Paul Kasmin died in 2020. Kasmin represents Pollock since 2024 and Krasner since 2017. During their tenure as senior staff members at Kasmin, Olney and Gleeson organized four exhibitions of Krasner’s work; the gallery also supported the 2019 Krasner retrospective at the Barbican Center in London, which traveled to the Schirn Kunsthalle in Frankfurt, Zentrum Paul Klee in Bern and the Guggenheim Museum in Bilbao, as well as in 2024 “Jackson Pollock: The Early Years, 1934-1947” at the Picasso Museum in Paris.
According to a press release from the gallery, Olney Gleason will work with the Pollock-Krasner Foundation to promote the work of both artists through gallery exhibitions, scholarly publications and support for museum exhibitions.
The Pollock-Krasner Foundation was established in 1985 by a bequest from Lee Krasner to fund exhibitions and scholarship on the art of Pollock and Krasner, and to support visual artists through unrestricted individual grants and exhibition and residency grants to museums and galleries.
“The Pollock-Krasner Foundation celebrates our continued partnership with Eric and Nick of Olney Gleason, extending our nearly decade-long relationship with their team,” Carolyn Black, executive director of the Pollock-Krasner Foundation, said in a statement.
A giant of 20th-century art and a representative figure of Abstract Expressionism, Pollock applied Surrealist automatic writing first to semi-figure paintings and then to the performative “drip” canvases created between 1947 and 1956, when he died in a car accident. Although her fame was slower than that of her husband Krasner, her work—particularly the nudes of the 1950s and the swashbuckling abstractions of the 1960s—has now been reassessed as contemporary with his.
