Olney Gleason, a new gallery opened this year by alums of the former Kasmin gallery, will exclusively represent the work of pioneering Abstract Expressionist painters Jackson Pollock and his wife, Lee Krasner through the the Pollock-Krasner Foundation.
Olney Gleason, which opened earlier this year, was founded by Nick Olney and Eric Gleason as a kind of successor gallery to Kasmin, whose eponymous founder Paul Kasmin died in 2020. Kasmin had represented Pollock’s work since 2024, and Krasner’s since 2017. During their time as senior staff at Kasmin, Olney and Gleason organized four exhibitions of Krasner’s work; the gallery also supported a 2019 Krasner retrospective at the London’s Barbican Centre, which traveled to Schirn Kunsthalle in Frankfurt, Zentrum Paul Klee in Bern and the Guggenheim Museum Bilbao, as well as the 2024 exhibition “Jackson Pollock: The Early Years, 1934–1947” at the Picasso Museum in Paris.
According to the gallery’s press release, Olney Gleason will work with the Pollock-Krasner Foundation to promote both artists’ work through gallery shows, scholarly publications, and support for museum exhibitions.
Established in 1985 with a bequest from Lee Krasner, the Pollock-Krasner Foundation funds exhibitions and scholarship about Pollock and Krasner’s art and supports visual artists through unrestricted individual grants and grants to museums and galleries for exhibitions and residencies.
Caroline Black, Executive Director at the Pollock-Krasner Foundation, said in a statement, “The Pollock-Krasner Foundation celebrates our ongoing partnership with Eric and Nick at Olney Gleason, extending our nearly decade-long relationship with their team.”
A giant of 20th-century art and the face of Abstract Expressionism, Pollock adapted Surrealist automatic writing first to semi-figural paintings, and then to performative “drip” canvases made between 1947 and his death, in a car crash, in 1956. While slower to gain the same level of fame as her husband, Krasner, her work—particularly her nudes of the 1950s and swashbuckling abstractions of the 1960s—have now been reassessed as equal to his.
