• Downtown’s finest Art Delivery

    Interview with Casey Gleghorn, the founder of No Gallery

Deeply delving into the essence of NO, a gallery located in the Lower East Side of Manhattan, Casey Gleghorn reveals the origins and the soul behind each choice. He invites us to explore upcoming projects and current endeavours. In a multitude of these realities, NO Gallery stands out as a space that hosts artists capable of reviewing and exploring cultural and social paradigms.

When did you start your gallery?

I originally opened No Gallery in mid-2019 in Los Angeles, California. I ran it for about a year, but then had to close the physical space due to the pandemic. After closing the space, I organised several bicoastal pop-ups in Los Angeles and New York City at short term spaces. Eventually, I made the decision to return to New York City full time. After locating a small space in Chinatown on Henry Street, I reopened No Gallery at our current location in the summer of 2021. Our inaugural exhibition in the new space featured a solo show with Genesis Breyer P-Orridge. When I was in LA our exhibition programming felt a bit all over the place. Since reopening, things just keep getting more and more focused.

So what about the Los Angeles project? Is it over and done?

Unfortunately, our space in Los Angeles had to close its doors in 2020. It’s a shame because I put a lot of love into that gallery build out. My vision for No Gallery is better suited in New York City for the time being.

What’s your strategy? Are you aiming for less commercial and more experimental art?

No gallery operates as a commercial art gallery we humorously identify as an ambiguously commercial gallery. Since moving to NYC, my curatorial strategy has evolved to be more reactionary to the exhibition trends I am able to identify. I try to find languages and conversations that are not being had and artists that are akin to this vision. I typically have gravitated towards transgressive art but lately I’ve been challenging that inclination.

You work with many emerging artists. How do you choose them? What’s your curatorial strategy?

I don’t have a fixed formula for selecting artists to collaborate with. I tend to work slowly with developing these relationships. Most of the relationships I have with artists developed over the course of one to two years from when we first meet. Some even longer. I really like to get to know them to ensure that we can work together. Ultimately the relationship begins with me liking the work they are making.

As mentioned earlier, My curatorial strategy is reactionary to current trends I Identify. I have been seeing a lot of illustration based painting shows so our 2024 programming is focusing less on traditional paintings and more on sculptural and conceptually based works.

Given the success of last year, what’s your future vision for participating in art fairs?

It was necessary for No Gallery to start participating in art fairs to expand our collector base outside of downtown New York City. I view involvement in an art fair like a typical business would view advertising in a magazine. We hope to start branching outside of the United States and more into Europe in 2025.

Which fairs would you suggest for young experimental galleries?

New Art Dealers Art Fair (NADA) serves as a solid entry point but I would caution new galleries against rushing into art fairs due to the financial risks involved. It’s easy to deplete a significant portion of your annual budget through these endeavours.

My advice to new galleries is to approach art fairs with caution. Take the time to visit the fairs, network with established individuals in the field, and seek out plenty of advice. Building relationships and gaining insights from those with a proven track record can be invaluable in navigating the complexities of art fair participation. I think it’s also important to know who the people advising the fairs are.

Do you enjoy visiting shows yourself? Any recent favourites?

I see alot of art and still enjoy looking at exhibitions. Over the past 4 years, I’ve been more interested in downtown galleries like Reena Spaulings, Jenny’s, Lomex, Derosia, Lubov and Bridget Donahue. Their programming consistently inspires me to elevate my gallery’s programming and rethink my curatorial approach.

A recent show I really enjoyed was Jon Rafman & Parker Ito “Poets, Gamblers, Fools” at Lubov.

Running a gallery in a competitive city like New York must have its challenges. What are your thoughts on that?

I would say the positives outweigh the negatives on running a gallery in New York City. It’s taken a lot of time but I’ve learned to enjoy the journey and focus on the unique experiences and relationships this city offers. It’s sometimes challenging but ultimately fulfilling. I view the competitive nature of this business as a positive as it forces me to be creative both in how I see future exhibitions at my space and growing my gallery and its artists

I’ve noticed you focus mainly on solo shows. Do you ever do group shows?

While No Gallery’s main focus is solo presentations, group shows are occasionally organised, usually during the summer or as special events to collaborate with artists outside our roster of represented artists.

What are your next steps and upcoming exhibitions?

We have a lineup of solo shows for 2024 and are preparing for upcoming art fairs with NADA NY and The Armory. Additionally, we’re considering curatorial ventures abroad, possibly in Japan. The exhibitions coming up are solo presentations with Todd Lim, Ben Werther and Allan Garnder.

Casey Gleghorn / Downtown’s finest Art Delivery

Credits:

Gallery : No Gallery / @no.gallery
Gallerist: Casey Gleghorn / @casey_gleghorn
Portrait photo: Sophia Boli / @skanklaurent
Editor and Interview: Maria Abramenko / @mariabramenko
Assistant: Annalisa Fabbrucci / @annalisa_fabbrucci

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