SOLO EXHIBITIONS 

 

2016 Because I Love You But You're Not Here | Little Big Man Gallery, Los Angeles

 

2013 Reckless| Lavai Maria, New York 

 

SELECT GROUP EXHIBITIONS 

2020 A Woman's Right to Pleasure, Black Book Gallery, Online 

2019 Aaron Rose & Natalie Krim | Circle Culture Gallery, Berlin

2018 Ophelia | Lucas Lucas Gallery, New York 

2017 NSFW Female Gaze | Museum of Sex, New York

2017 Plus One | Museum of Broken Relationships, Los Angeles 

2017 Mechanical Living Room | The Friend, Los Angeles 

2017 Aaron Rose's La Rosa Social Club | Carriageworks, Sydney 

2016 Aaron Rose's La Rosa Social Club | Project Space All Day Everyday, Los Angeles 

2015 LA/LX | Manteigaria de Lisboa, Lisbon 

2015 LOVE/WAR | Mama Gallery, Los Angeles 

2013 No Class | Ansonia Creative House, Miami Beach, Art Basel 

2013 No Class | Great Jones Space: Ludlow Supply Company, New York City

CURATION 

2019 HBO Mrs. Fletcher, New York

EDUCATION 

Fashion Institute of Technology, 2011

NATALIE KRIM BY AARON ROSE 

When one first glances the works of artist Natalie Krim, one cannot help feel a bit embarrassed. At face value, these small intimate drawings and collages are soft and sweet, but there’s something incredibly private going on as well. As we take in these artworks, we feel as though we’re being let into someone’s secret world, a place where forbidden desires are allowed to run wild, yet packaged in the sweetness of a teenage girl’s fantasy. Some could say this is nothing new, and that in our social-media-driven visual world images described as these permeate every corner of our culture, but Natalie Krim’s images are different. The works trick you into believing that they’re about sex, but if one looks closer it becomes quite obvious that their surface sexuality is only a means of the artist leading us to distraction. A complicated visual play is happening here with the function to lure the small-minded viewer into a much larger artistic statement. Natalie Krim’s works are in fact deeply psychological and one could even say political. In concept, one could compare them to works by like Cindy Sherman’s intimate auto-portraits or even Dorothy Ianonne’s wild psychedelic drawings. Like Krim, both artists used sexuality as an entrance point, but then once inside, boldly revealed to us the inner workings of their collective souls. With Natalie Krim, sex becomes a metaphor, but in reality these works reveal the silent screams of a young woman coming to terms with herself and her relationship to the world. Perhaps that’s where the sense of embarrassment comes from. Our superficial image based culture has come to define intimacy as something that in reality is not intimate at all. What Krim is exposing to us is well beyond the body and thus sometimes perhaps the most uncomfortable thing to consider. We don’t want to look at other peoples’ sorrow, mostly because it forces us to look at the same things in ourselves. It messes with our fantasy that we are good, the farce that we are all OK. It is precisely this combination of elements that makes Natalie Krim’s works so powerful. While these small, understated works can easily be confused with naïve diary scribbles, we all must consider that perhaps it’s in these unsettling images, in their unsuspecting forms, that our internal world is mirrored back at us in the most exquisite way.

 

Natalie Krim lives and works in Los Angeles