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"Lara Nickel; A horsey set" by Michael Abatemarco, Santa Fe New Mexican, 2016

 

Lara calls her practice installation-based painting. She paints detailed compositions of flora and fauna such as prickly pears, zebras, jaguars, and horses but with references to art history that nudge her work into the conceptual realm [....] Lara’s paintings rest perpendicular to the wall rather than hanging flat, forcing a more dynamic interaction for the viewer.

Art in Review: "30 Under 30: The Next Generation" by Iris McLister, Santa Fe New Mexican, 2015

 

Lara Nickel’s oil painting Giant Prickly Pear is more than seven feet wide, its mammoth proportions exaggerated by an unusual display. Propped against a right angle in a corner of the gallery, it seems to pop out from the walls behind it. Nickel....is one of the show’s more established artists. Giant Prickly Pear is technically superb, and the vivid green, richly textured surface looks brightly modern against a stark white background.

Critical Reflection; "UTILITIES" by Hannah Hoel, THE Magazine, 2015

 

Lara Nickel's Siena Bricks are foreign, carefully cordoned off, and very clean. Her stretched canvases, each measuring 12.25" x 2.75", lying on the floor and arranged in a herringbone pattern, emulate the bricks found at Piazza del Campo in Siena, Italy. They are the most recognizable objects in Utilities and cite something incredibly utilitarian - medeval infrastructure. Unlike Carl Andre's floor pieces, Siena Bricks are for conceptual inspection only, thier astutue crispness referencing minimalism as opposed to the soles of billions of pedestrians and horseshoes.

 

12 HORSES - HOMAGE TO

JANNIS KOUNELLIS

1 2    H O R S E S

HOMAGE TO JANNIS KOUNELLIS

D U S T   I N   A   C O R N E R

This is a single 2in x 2in oil painting, depicting dust on the surface of a canvas.  It is unframed and is displayed flat on the floor, fitted into a corner. 

 

Dust in a Corner has been documented since 2008 in a wide range of museums, historical sites, and cities which include Versailles, the streets of Rome and New York, guerilla-style at the Metropolitan, and an authorized photography shoot at the Hirshhorn.