NICHOLAS THOMPSON GALLERY
Nicholas Thompson Gallery represents contemporary Australian artists. The gallery operates an annual program of exhibitions and a stockroom accessible on request.
Nicholas Thompson Gallery was established in 2015. Within its first six months of operations the gallery exhibited at Sydney Contemporary 2015, Australasia’s premier international art fair. In 2016 the gallery produced its first publication Sustained Sensation, a monograph on the art of Su Baker. Nicholas Thompson Gallery and its exhibitions have been covered by The Age, The Australian Financial Review and Magazine, ABC Radio National, The Financial Times, Art Collector Magazine, Artist Profile Magazine, Vault Magazine, Belle Magazine, House and Garden Magazine, CEO Magazine, Art Guide Australia, Nine Network and The Design Files.
Nicholas Thompson Gallery is an Associate Member of the Art Galleries Association of Australia (AGAA), the peak body for commercial art galleries in the primary visual arts market. The gallery is a participant in the Artmoney program that provides interest free loans to buy art. As announced in the Australian Government Budget 2015-16, artworks under $20,000 (exc. GST) purchased by small businesses are tax deductible in full.
Gallery director Nicholas Thompson worked for a decade with several of Australia’s most prominent art galleries, including Philip Bacon Galleries, Brisbane and Australian Galleries, Melbourne. He has a Master’s Degree in Art Curatorship from the University of Melbourne and an Honours Degree in Art History from the University of Queensland. Thompson has contributed commissioned writing to Australian art publications including Art Monthly and Artlink. He is approved to value Australian painting, sculpture and works on paper after 1950 for the Australian Government’s Cultural Gifts Program.
“If the debut exhibition at new Collingwood space Nicholas Thompson Gallery is anything to go by, the young art dealer has an eye for no-nonsense painting.”
Dan Rule, ‘Opening Exhibition’ review, The Age, 3 April 2015