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219 Bowery, 2nd Floor
New York, NY 10002
212 594 0550
Founded in 2010, Cristin Tierney Gallery is a contemporary art gallery located on The Bowery with a deep commitment to the presentation, development and support of a roster of both established and emerging artists. Its program emphasizes artists engaged with critical theory and art history, with an emphasis on conceptual, video, and performance art. Education and audience engagement is central to our mission.
Artists Represented:
Melanie Baker
Janet Biggs
Claudia Bitrán
François Bucher
Victor Burgin
peter campus
Joe Fig
Richard Galpin
MK Guth
Malia Jensen
Alois Kronschlaeger
Joan Linder
Jennifer Marman and Daniel Borins
T. Kelly Mason
Maureen O'Leary
Jorge Tacla
Francisco Ugarte
John Wood and Paul Harrison
Tim Youd
Works Available By:
Dread Scott

 

 
Installation view of Joan Linder and Maureen O'Leary: Slightly Surreal Suburbia. Photograph by Elisabeth Bernstein.
Installation view of Joan Linder and Maureen O'Leary: Slightly Surreal Suburbia. Photograph by Elisabeth Bernstein.
Installation view of Joan Linder and Maureen O'Leary: Slightly Surreal Suburbia. Photograph by Elisabeth Bernstein.
Installation view of Joan Linder and Maureen O'Leary: Slightly Surreal Suburbia. Photograph by Elisabeth Bernstein.
Installation view of Joan Linder and Maureen O'Leary: Slightly Surreal Suburbia. Photograph by Elisabeth Bernstein.
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Current Exhibition

Jorge Tacla

Stagings/Escenarios



September 9, 2022 - October 22, 2022
Cristin Tierney Gallery is pleased to announce Stagings/Escenarios, an exhibition of dynamic, expansive paintings by Jorge Tacla, curated by Christian Viveros-Fauné. This is Tacla’s fourth solo exhibition with the gallery and will run concurrently with a presentation of his work at The Armory Show in New York. Stagings/Escenarios opens the evening of Friday, September 9th, with a reception from 6:00 to 8:00 pm. The artist will be present. Jorge Tacla’s work is informed by abuses of power and the resulting destruction. His paintings often depict landscapes of cultural significance and the remnants of sites leveled by uprising and warfare, communicating the complex narratives these places represent. More recently, he has turned his attention to civil unrest. In Stagings/Escenarios, Tacla’s focuses on the proliferation of such scenes around the world while formally taking on a vertiginous spatial dynamic. Prior to this body of work, Tacla largely excluded the human figure from his paintings, letting buildings and rubble suggest a human presence or intervention. His practice shifted after personally processing images of political rallies in the U.S., Chile, Lebanon and Hong Kong, China, in 2019-20. October 25, 2019, #4 (2022) is emblematic of this new mode, depicting some of the estimated 1.2 million protesters that gathered across Chile’s capital, Santiago. In Hidden Identities 160 (2021), the artist shows—in red, white, blue and black—the monumental plinth that once supported the statue of Confederate General Robert E. Lee in Richmond, VA, a recent locus of social justice protests in the U.S. Tacla’s crowds are abstracted to the point of unrecognizability, emphasizing the strength, dynamism and anonymous power of mass demonstrations, underscoring the need to protect the identities of those involved while inviting viewers to place themselves within the work. Tacla paints with a mixture of oil and cold wax, creating a tactile surface that he compares to a skin. In these new works, he places the viewer at the center of the action, shifting their understanding of his discrete paintings while inviting them to question where they stand in relation to the whole. Hung traditionally or leaned against vertical wooden structures, his canvases are conceived as both stand-alone works as well as fragments of room-sized installations. Tacla’s paintings also represent a space of social rupture. Some are defined by the new architectures that arise in the wake of catastrophe, others by the massing of social forces that represent change in themselves. Tacla perceives the devastation that results from such events as an opportunity to investigate structural systems that would otherwise remain unseen. These critical issues, and their situation in the larger, collective human experience, are the defining theoretical inquiries of Tacla's work. Running concurrently with his exhibition, the gallery will present a selection of Jorge Tacla’s work at the Armory Show 2022. The booth is featured in the Focus section curated by Carla Acevedo-Yates, Marilyn and Larry Fields Curator at the Museum of Contemporary Art (MCA) Chicago. The Armory Show opens with a preview day on Thursday, September 8th, and continues through Sunday, September 11th. Jorge Tacla (b. Santiago, Chile) studied at the Escuela de Bellas Artes, Universidad de Chile in Santiago and moved to New York in 1981. Since then, Tacla’s paintings have been exhibited internationally in museums, biennials, and galleries. Notable exhibitions include: Jorge Tacla: Historia Natural de la Destrucción, Il Posto; El Cuarto Mundo, 14 Bienal de Artes Mediales de Chile, Museo Nacional de Bellas Artes, Santiago; The Visible Turn: Contemporary Artists Confront Political Invisibility, USF Contemporary Art Museum; Jorge Tacla: Todo lo sólido se desvanece, CorpArtes; Upheaval, Tufts University Art Gallery; Hidden Identities: Paintings and Drawings by Jorge Tacla, Art Museum of the Americas; Jorge Tacla: Identidades Ocultas, Museo de la Memoria y los Derechos Humanos; The Emergency Pavilion, 55 Biennale di Venezia; Jorge Tacla: Drawings, Milwaukee Art Museum, Jorge Tacla: Epicentro, Museo Nacional de Bellas Artes, Santiago; Jorge Tacla: Epicentro, Museo Nacional de Bellas Artes, Buenos Aires; Jorge Tacla: Art at the Edge, High Museum of Art; The New Portrait, MoMA PS1. He has also completed several permanent installations including a mixed-media mural at the Museo de la Memoria y Los Derechos Humanos in Santiago, Chile and murals for the Bronx Housing Court, a division of the Civil Court of New York City. Tacla’s work is held in, among others, the collections of Tufts University, Wake Forest University, High Museum of Art, Museo de Arte Moderno, Blanton Museum of Art, California Center for the Arts, Milwaukee Art Museum, Herbert F. Johnson Museum of Art, and Museo Nacional de Bellas Artes. The Smithsonian's Archives of American Art acquired the papers of Jorge Tacla, including his drawings, correspondence, photographs, notebooks, and clippings. His holdings span nearly forty years and provide a look into the fluctuating histories of the New York and Santiago art worlds. Tacla lives and works in New York City and Santiago, Chile. Christian Viveros-Fauné (b. Santiago, Chile) has worked as a gallerist, art fair director, art critic, and curator since 1994. He was awarded the University of South Florida’s Kennedy Family Visiting Fellowship in 2018, a Creative Capital/Warhol Foundation Grant in 2009 and named Critic in Residence at the Bronx Museum in 2011. He co-founded The Brooklyn Rail in 1999, wrote art criticism for the Village Voice from 2008 to 2016, was the Art and Culture Critic for artnet news from 2016 to 2018, and has additionally served as Chief Critic for Artland and Sotheby’s in other words. He has lectured widely at institutions such as Yale University, Pratt University and Holland’s Gerrit Rietveld Academie. He currently serves as Curator- at-Large at the University of South Florida Contemporary Art Museum and writes for the Village Voice 2.0. He was recently appointed Artistic Director for the 2023 Converge 45 biennial (Portland, Oregon). He is also the author of several books. His most recent, Social Forms: A Short History of Political Art, was published by David Zwirner Books in 2018.

 
Past Exhibitions

MK Guth

Be Part of It!



July 18, 2022 - August 12, 2022
Cristin Tierney Gallery is pleased to announce Be Part of It!, a new interactive performance and exhibition by MK Guth. Be Part of It! begins at 10:00 am on Monday, July 18th. The artist will be in residence at the gallery for the first two weeks of the exhibition, and the public is invited to create the artwork with her from July 18th through the 23rd. A reception will be held halfway through the exhibition on Friday, July 29th, from 6:00 to 8:00 pm. Guth has undertaken several performances braiding hair in the past two decades. In 2008, she created two participatory artworks using braids: one with the Yerba Buena Center for the Arts and one for the Whitney Biennial. In Yerba Buena, Guth asked people to write their thoughts about the word “feminist” on pieces of brown fabric that were braided into Guth’s hair. At the Biennial, she created a growing sculpture from fake hair braided with scraps of red flannel on which visitors wrote their answers to the question, “What is worth protecting?” At perhaps the artist’s most grueling performance, her 2011 residency at the Cosmopolitan’s P3 Studio in Las Vegas, Guth asked people to write their wishes on ribbons that were braided into extensions attached to the artist’s hair. By the end of the project, the braids were each 300 feet long and weighed several hundred pounds. Be Part of It! is the artist’s first interactive braiding performance with the gallery. Visitors between July 18-23 will be asked to write their names onto silver satin ribbons, which will be added to a braid extending off Guth’s hair. In the process of contributing their names, the public will have the chance to speak to Guth about their thoughts on connection and participation. The artist compares the request to include one’s own name in the artwork to a risk: “It is being willing to engage the unknown, to chart new territory in order to gain new knowledge or experience. It speaks about commitment.” Guth will keep the work attached to her hair as the braid grows in length and weight through July 23rd. Over the following week, July 25-29, the braid will be cut and she will begin to sew the ribbons and faux hair into vessel-like sculptures in the gallery. The artist’s residency concludes on the 29th, and the finished works will remain on view through August 12th. Audience interaction is at the heart of Guth’s practice. With each performance she hopes to shift viewers’ mindsets and prescribed patterns of navigating life through one-on-one conversation. Conceived in early 2022, Be Part of It! was directly influenced by the isolation and loneliness experienced by many during the pandemic. Guth seized the opportunity to create a work about belonging, in which authorship would be completed by participants. The title is not just a summation of the performance, but an invitation to be included in something larger than ourselves, linked to other people. Join Guth in Be Part of It!, and question what it means to be allied to something, be classified in a group, or own allegiance to another. Small shifts in what is familiar amplify human presence and speak to the intricacies of social relations in MK Guth’s work. Guth (b. 1963, Stevens Point, WI) is a visual artist working in sculpture, performance, and interactive projects. She has exhibited and performed with numerous galleries and institutions in the US and abroad including The Contemporary Art Center, Cincinnati; The Whitney Museum of American Art; Boise Art Museum; Yerba Buena Center for the Arts; Henry Art Museum; Art Museum of Sonoma; Weatherspoon Art Museum; Akron Art Museum; Hallie Ford Museum of Art; Willamette University; The Melbourne International Arts Festival; Nottdance Festival; Swiss Institute; Gallery-Pfeister; Gudhjem Denmark; and with the Art Production Fund (NYC/Las Vegas). She is a recipient of a Ford Family Foundation Fellowship, Bonnie Bronson Award, Betty Bowen Special Recognition Award through the Seattle Art Museum, and an Award of Merit from the Bellevue Art Museum. Guth is Emeritus faculty at the Pacific Northwest College at Willamette University in Portland Oregon. Her studios are located in Portland, OR and Coeur d'Alene, ID.

François Bucher

You Are (It Is) A Distorted Projection from a Single Light



June 10, 2022 - July 15, 2022
Cristin Tierney Gallery is pleased to announce You Are (It Is) A Distorted Projection from a Single Light, an exhibition of new sculptures and related works by François Bucher. This is Bucher’s second exhibition with the gallery. You Are (It Is) A Distorted Projection from a Single Light opens the evening of June 10, with a reception from 6:00 to 8:00 pm. The artist will be present. François Bucher’s practice builds on finding poetic connections between material and immaterial spheres. His work interrogates hierarchies of knowledge, fracturing the monolithic consensus reality of Western ways of understanding the universe and the body. Sources include post-structural philosophy, indigenous cosmo-experience, supra-dimensional encounters, and popular culture. Each body of his work—whether film, installation, sculpture, or photography—is united by the dare it poses to explore alternative layers of the human experience, and by the intuition that everything is intrinsically connected. You Are (It Is) A Distorted Projection from a Single Light features Bucher’s new acrylic light boxes made with PET plastic and polarized film. The significance of the light phenomenon occurring within each sculpture is multi-fold. When placed between two linear polarized filters, PET plastic expresses the phenomenon of birefringence (a ray of light is refracted into two rays heading in different directions). The resulting abstract images seem to float inside the acrylic structures, or to mimic abstract gravitational waves. Polarization is also linked to the artist’s interest in non-linear time: “PET plastic is a derivate from fossil fuels, made entirely of ancient biological life; therefore, it has a molecule akin to the one in our DNA. It is interesting to note that this phenomenon of light—anisotropy and/or polarization—is the most important tool when engaging with the exploration of deep time, including both the seconds after the Big Bang and the geological history of our own planet. Oil wells are also discovered using anisotropy.” Much of Bucher’s work borrows from the genre of science fiction, leaning on two of its most popular tropes: portals through time and hidden parallel realities. Referencing Contact by Carl Sagan, Planet of the Apes, and Chris Marker’s La Jetée as well as the artist’s personal experiences in the fringes of reality with the Taitas (shamans) in Colombia, he makes an argument for the attainment of inter-dimensional consciousness as a restorative experience, opening the doors for a healing of trauma both at the individual and collective levels. In addition to his visual art, written text is an intrinsic component of Bucher’s practice. His statement for You Are (It Is) A Distorted Projection from a Single Light lists some of the varying threads that connect his work without overly defining them. He cites cosmological physics, geological history, and futuristic fiction, but leaves space for the viewer to draw their own conclusions. He leaves us with this final sentiment: “An adventure of perception such as this, when followed all the way to its ultimate consequences implies losing a sense of linear time that keeps us bound. The past is here and now.”2 François Bucher (b. 1972) is an artist and writer from Cali, Colombia. His research spans a wide range of interests, focusing—as of late—on multi-dimensional fields and on other tropes from shamanism and science fiction, such as time “travel.” He contends that trauma acts as a portal through time, both at a collective and an individual level. Bucher’s work has been exhibited worldwide, including at the Venice Biennale, Lyon Biennial, Marrakech Biennale, Haus der Kulturen der Welt, Museo de Arte de Zapopan, Bienal de Cartagena, Bienal de Cuenca, Centro Andaluz de Arte Contemporaneo, Station Museum of Contemporary Art, Centre d'Art Contemporain Geneve, Berlin Documentary Film Forum, Jeu de Paume, Prague Biennial, Tate Britain, and the Museum of Contemporary Art, Chicago. His writing has been published in the Journal of Visual Culture, documenta Magazine, e-flux journal, and Valdez. He holds a master’s degree in film from the School of the Art Institute of Chicago. The Catastrophe of the Present, a book on his work from 1999 to 2016 written by Claudia Salamanca, was published in 2016. His studio is in Mexico. Founded in 2010, Cristin Tierney Gallery is a contemporary art gallery located on The Bowery with a deep commitment to the presentation, development, and support of a roster of both established and emerging artists. Its program emphasizes artists engaged with critical theory and art history, with an emphasis on conceptual, video, and performance art. Education and audience engagement is central to our mission. Cristin Tierney Gallery is a member of the ADAA (Art Dealers Association of America).

Maureen O'Leary

Both/And



April 22, 2022 - May 27, 2022
Cristin Tierney Gallery is pleased to announce Both/And, an exhibition of new paintings by Maureen O'Leary. This is O'Leary's first solo exhibition with the gallery. Both/And opens the evening of Friday, April 22nd, with a reception from 6:00 to 8:00 pm. The artist will be present. In Both/And, Maureen O'Leary takes a boldly sumptuous approach to painting that is full of historical references. Her use of bright pigments and energetic brushstrokes recalls the Fauvist strategies employed by Matisse. The haunting mood of the works and their off-kilter spirit suggest a kinship with Symbolism's interest in the metaphorical. Josef Albers's book Interaction of Color inspired the artist to experiment with expressive and lurid colors, coalescing into recognizable forms and scenes. Both/And represents O'Leary's deft synthesis of these quotations into her vision of the world.

Luca Buvoli

Astrodoubt and the Quarantine Chronicles (An Introduction)



January 28, 2022 - March 5, 2022
Astrodoubt and the Quarantine Chronicles (An Introduction) is Buvoli's first project with the gallery, and his first solo show in New York in 13 years. It speaks directly to our times and the changing expectations, hopes, fears and vulnerability that fill our lives. Based on a conceptual and tragicomic graphic novel posted on Buvoli's Instagram (@astrodoubt_) beginning in April 2020, the exhibition explores the challenges of navigating daily life in a pandemic-ridden world. Featured works include a video projection, five-channel video work, and installation art.

Dread Scott

We're Going to End Slavery. Join Us!



September 17, 2021 - December 18, 2021
"Dread Scott: We're Going To End Slavery. Join Us!" is the artist's first exhibition with Cristin Tierney Gallery, and it features a set of six pigment prints and flags from his 2019 project "Slave Rebellion Reenactment," a community-engaged performance.

Joan Linder and Maureen O'Leary

Slightly Surreal Suburbia



June 18, 2021 - August 6, 2021
Cristin Tierney Gallery is pleased to present Slightly Surreal Suburbia, a two-person exhibition with Joan Linder and Maureen O’Leary. The show features new paintings by O’Leary alongside works on paper and sculptures by Linder. Slightly Surreal Suburbia opens Friday, June 18th, and continues through Friday, August 6th. This will be the first major exhibition for both artists with the gallery. For as long as suburbs have existed, life in their quiet communities has been a subject of intense interest. They are governed by particular rules of conduct and social expectations that set them apart from cities. Relationships among neighbors involve a strange commingling of secrecy and voyeurism. And underneath their ostensibly calm surfaces there is often a wealth of eccentricity and darkness hiding, as explored through many notable films, television shows, works of photography, books and more from the mid-20th century to today. Linder and O’Leary live in Buffalo and Mt. Sinai, respectively, and like so many of us they have experienced life in suburban areas. In the last year, the two artists became deeply enmeshed with their surroundings as the pandemic curbed most travel and they found themselves spending more time at home. Slightly Surreal Suburbia showcases new works by both women devoted to the sights and people in the ‘burbs; together they are a consideration of domestic life outside of the metropolitan sphere. Joan Linder has had a lifelong obsession with the passage of time, which she channels through inordinately detailed ink drawings and sculptures made from paper, foam and duct tape. Many of Linder’s works are life-size, forming near-perfect replicas of actual objects or people she has encountered. In Slightly Surreal Suburbia, Linder presents objects that capture the anxiety we all felt in our homes in 2020. They approximate the items they represent, but close looking reveals small imperfections and touches of the artist’s hand. Isolation Orders is a to-scale drawing of a letter Linder received with the governor’s state-wide order to shelter in place in March 2020. Wet Ones is a slightly-off reproduction of a container of antibacterial hand wipes, created painstakingly with slices of tape to approximate the in-demand good. O’Leary’s paintings capture the oddness of the everyday in her neighborhood on Long Island. She presents fleeting, moody scenes viewed from her home and studio; in The Trash at Night, we see a man dragging a trashcan behind him, set against a backdrop of leafless trees and an ominous glowing moon. The sky is a mottled purple tinged with juicy reds and oranges, lending an eerie feeling to the already uncanny image. The Mail, March shows a tiny hand emerging from a darkened USPS truck to drop a letter in a mailbox. it is the only sign of life in the painting. Joan Linder (b. 1970) is known for her labor-intensive drawings that contain thousands, even hundreds of thousands, of tiny lines. She has exhibited at Albright College, Faulconer Gallery at Grinnell College, The Albright-Knox Art Gallery, Omi International Art Center, Sun Valley Art Center, Weatherspoon Art Museum and more. Her work is held in the collections of The Albright-Knox Art Gallery, Davis Museum, Bank of America, Fidelity Investments, Progressive Corporation, West Collection and the Zabludowicz Collection. She studied at the Skowhegan School of Painting and Sculpture, and holds an MFA from Columbia University and a BFA from Tufts University. Among her many awards and fellowships are residencies at MacDowell Colony, Yaddo, Smack Mellon, Ucross Foundation, Art Omi, and the University of Tennessee, Knoxville, plus a Pollock Krasner Foundation Grant. Maureen O'Leary's (b. 1965) paintings hover between figuration and abstraction. Her mundane scenes become substrates for experimentation with the application of paint and the evolving notion of what is real. O’Leary’s work has been exhibited at the Fondation des États-Unis, Ely Center of Contemporary Art, Art Lab Tokyo, Midwest Center for Photography, Artspace, Power Plant Gallery at Duke University, Valdosta State University Fine Arts Gallery, Staten Island Museum, Meadows Gallery – University of Texas at Tyler, and more. She is the recipient of the Brooklyn Arts Council – Brooklyn Arts Fund Grant and the Harriet Hale Woolley Fellowship from the Fondation des États-Unis. O’Leary has published two books: Belle Mort (2013, Paper Chase Press) and Look/Listen (2010, Look/Listen Press). Her work is held in the collections of the Fondation des États-Unis and the Beinecke Rare Book and Manuscript Library at Yale University. Photograph by Elisabeth Bernstein

Alois Kronschlaeger

Kind of Blue



May 21, 2021 - June 30, 2021
Cristin Tierney Gallery is pleased to present Kind of Blue, a temporary immersive installation by Alois Kronschlaeger in a former retail space below the gallery on the Lower East Side. Kind of Blue opens the evening of Friday May 21st from 6:00 to 8:00 pm. Entry will be limited and on a first-come, first-served basis. The installation is open through Wednesday June 30th at 219 Bowery. This will be the artist's fourth project with the gallery. Viewed from the street, Kronschlaeger's installation rises like a cresting blue swell inside of the space. Beneath the undulating blue forms is a 1500 square-foot gridded structure of 2 x 2-inch wooden planks, covered with almost 500 yards of blue Ultrasuede fabric. Kronschlaeger has carved into the framework, creating a topographical landscape that rises and falls as it slopes away from the entrance. The fabric has been carefully bunched and draped over the planks to create an enormous, continuous, rolling wave of vivid blue. The artwork is designed to be immersive. Pathways in the grid allow visitors to walk around, on top of, and through the work. The interior structure of the piece is gradually divulged as one moves through it; what was soft and pliable on the exterior is revealed to be a highly structured, geometric form underneath. Kind of Blue is named after the classic album by Miles Davis, which was conceived and recorded in New York City. It is a personal favorite of Kronschlaeger's, who often listens to the album while working in his studio. The nature of Kronschlaeger's installation echoes the central tenet of jazz music: rolling themes and variations occurring within a structured program. On the surface, the blue fabric appears loose and flowing, its exact shape organic and haphazard. But underneath it is in fact a very rigid structure--a support which allows the blue fabric to be "improvisational." The installation's location on the Bowery is significant. As the oldest thoroughfare in Manhattan, parts of it were likely used thousands of years ago by animals crossing the island to find fresh water. With its undulating blue surface, Kind of Blue references both this search for water as well as the hills of Manhattan's original geography. Alois Kronschlaeger (b. 1966, Grieskirchen, Austria) creates site-specific installations and abstract sculptures that use geometry to explore environment, light, space, and time. His work has been exhibited at such international institutions and festivals as The Bruce Museum of Arts and Sciences, The Figge Art Museum, Yuan Art Museum, MOCA Tucson, MAC Lima, and Islamic Arts Festival, among others. He has completed multiple public installations and commissions in Mexico City, Grand Rapids, Sarasota, Lima, Tucson, and Miami. Kronschlaeger lives and works in Brooklyn and Mexico City. Photograph by John Muggenborg