Photo by Diana Erdos, 2017

Austrian–American, mixed media artist, Nicola Ginzel, lives in Brooklyn and works at the Old American Can Factory in Gowanus.  She had her first ten–year retrospective and traveling museum exhibition,“ Language, Symbol, Artifact,” at the Tennessee Valley Museum of Art.  Other selected solo and group exhibitions have been at Cathouse FUNeral in Brooklyn; Jenny Jaskey Gallery in Philadelphia; Corridor Gallery in Reykjavik, Iceland; NARS Foundation in Brooklyn; Heskin Contemporary and Bernard Jacobson Gallery in New York City. Her next solo exhibition is at The 1 GAP Gallery, curated by Suzy Spence in September 2017- January 2018.
 
Her work has been selected in juried exhibitions by curators like Omar Lopez–Chahoud, Lisa Phillips of the New Museum and Bill Arning of Contemporary Arts Museum Houston.  Her Frottage Prints— created by using her own embroidered, transformed ephemera as a printing platform—have been coined the “Ginzel Method” in the book, Playing with Sketches.  Her artwork has been featured internationally and nationally by venues such as New Art TV, Time Out New York, The Philadelphia Inquirer, The Chicago Tribune, Art in America and most recent—Artcritical in Dec 2015.
 
Nicola was nominated for a Louis Comfort Tiffany Grant and has been the recipient of a grant from the Robert Rauschenburg Foundation and most recently Artists’ Fellowship Inc., Max's Kansas City Project and the Mayer Foundation in 2016. Residencies include SIM—The Icelandic Visual Arts Association and Reykjavik Art Museum Residency; The Skaftfell Cultural Center Residency in Seydisfjördur, Iceland and BoxoPROJECTS in Joshua Tree, CA in 2016. 
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New York Contemporary Art Critic, Lilly Wei writes:
From the mass-produced and damaged, from the ephemeral, Ginzel—who thinks of herself as a mixed media artist but whom I think of as a mixed media poet or just simply a sorceress—creates delicate, hand-made and very beautiful objects that suggest reliquaries, amulets, and archeological fragments, distillates of memories and feelings. … The constant solacing repetition of touch also bespeaks of love and healing, warming the work with their invisible presence. … Essentially, her work is based on the human factor, in some ways a branch of “philosophical anthropology,” or equivalent to a “shamanistic” ritual, Ginzel explained, its visual language both rare and ecumenical, her offerings something to be shared.
    
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