Ulrike Müller (artist)

Ulrike Müller (born 1971 in Brixlegg , Austria ) is a contemporary visual artist . Müller is part of the gender queer , feminist artists group LTTR and co-editor of the magazine of the same name. In 2011 she represented Austria at the Cairo Biennale. She lives in New York City and teaches at Bard College in Annandale-on-Hudson, New York. In 2019 she is the only Austrian artist to be exhibited at the main exhibition of the Biennale di Venezia .

Life

Ulrike Müller was born in Brixlegg in 1971 . Between 1991 and 1996 she studied painting at the Academy of Fine Arts Vienna . She also studied the subject at the University of Applied Arts Vienna . She completed the Whitney Museum Independent Study Program and the PS1 Studio Program .

Career

Müller's work deals with contemporary feminist and gender-queer issues, in a continuation of the feminist movement since the 1970s. She is part of the feminist-queer collective LTTR. The techniques used by her include painting, performance, sculpture, editions, geometry, abstraction, video / audio and textiles in order to explore questions of the body and identity politics and thereby break up and question the duality of the sexes. For example, for her exhibition Raw / Cooked at the Brooklyn Museum in 2012, she invited a number of feminist and queer artists - including Nicole Eisenman , AL Steiner and Amy Sillman - to implement T-shirt quotes from the Lesbian Herstory Archive (Brooklyn) .

Ulrike Müller currently teaches painting at the Milton Avery Graduate School of the Arts at Bard College . She previously served on the faculty of the Vermont College of Fine Arts and taught painting / printmaking at Yale University .

subjects

Müller's art plays with abstraction and representation with the intention of questioning social and individual experiences and blurring the boundaries between the work of art and the viewer. She wants to break traditional gender norms and offer alternatives from a feminist perspective. Müller's pictures are strongly influenced by geometric abstraction in order to create a close relationship between color and form. With her pictures she examines how color and form shape concepts of representation, identity and physicality. Müller's work is assigned to radical feminism , leaving conventional areas of abstract and geometric painting. In doing so, she creates relationships between shape, social context and identity.

Herstory Inventory

Herstory Inventory was an exhibition in the Raw / Cooked series of the Brooklyn Museum , which saw itself as a conversation and answer to the feminist work The Dinner Party by Judy Chicago from 1974-79. The Dinner Party showed photographic work with the aim of helping lesser-known works of art gain recognition. Müller modified this concept by calling on feminist and queer artists to convert quotes from T-shirts in the Lesbian Herstory Archives as two-dimensional art. Herstory writes history from a feminist perspective, emphasizing the role of women and taking their point of view. Raw / Cooked had a number of outcomes that had in common to involve the relationship between abstraction and representation. The success of the project was also due to the fact that it represented a wide variety of artists.

recognition

Müller is known for her efforts to reconsider outdated ideas of representability and expression in feminism. In numerous exhibitions, she campaigned for lesser-known artists and tried to break the rules of patriarchy. She is also famous for exploring the limits of the medium used in order to shape the forms of the body and their respective connection to the world. The art public appreciates Müller's renewal of modern abstractionism and its redesign, with which questions of the outside world can be asked, such as those of gender and the body. With subtle means and renewal of historiography, she succeeds in new ways of looking at art history and feminist history and how they influence and represent the present.

Solo exhibitions (selection)

• Container , Art Association for the Rhineland and Westphalia, Düsseldorf (2018)
• And Then Some , Callicoon Fine Arts, New York (2016)
• The old expressions are with us always and there are always others , Museum Moderner Kunst Foundation Ludwig Vienna (2015)
• Weather , Callicoon Fine Arts, New York (2014)
• untitled, Kunstraum Lakeside, Klagenfurt , Austria (2014)
• Herstory Inventory , Brooklyn Museum (2012)
• Feminism Formalism , Steinle Contemporary, Munich (2010)
• Fever 013 , Artpace, San Antonio (2010)
• Ten in One (2004)

Group exhibitions (selection)

• 57th Carnegie International , Carnegie Museum of Art Pittsburgh , PA (2018)
• Trigger: Gender as a Tool and a Weapon , New Museum, New York (2017)
• 78th Whitney Biennial , New York, (March 17 - June 11, 2017)
• Dropout at Site 131 , Callicoon Fine Arts, New York (2016)
• Invisible Adversaries , Hessel Museum of Art, Annandale-on-Hudson (2016)
• Blackness in Abstraction , Pace Gallery, New York (2016)
• Painting 2.0: Expression in the Information Age , Museum Brandhorst Munich (2015) and mumok Museum Moderner Kunst Stiftung Ludwig , Vienna (2016)
• Always, Always, Others (2015)
• Herstory Inventory: 100 Feminist Drawings by 100 Artists, Kunsthaus Bregenz (2012)
• Sonic Episodes , Dia Art Foundation (2009)
• Unmonumental Audio , New Museum (2008)

Prices

• 2017: Prize for Contemporary Art from the State of Tyrol

Publications (selection)

• Work the room. A Handbook on Performance Strategies. OE / b_books, 2006. (Editor)
• An Idea-Driven Social Space. Ulriker Muller and Andrea Geyer. Gray Room 35, MIT Press . Cambridge. 2009.
• Fever 103, Franza, and Quilts. Dancing Foxes Press, 2012. [3]
• Herstory Inventory. Dancing Foxes Press, 2014. [4]
• (with Manuela Ammer :) Always, Always, Others mumok Vienna and Dancing Foxes Press, 2017 [5]

literature

• Maria Stadlober: Limits of the body. On the materiality of the physical in Pipilotti Rist's “Help me to be honest (Flatten)” and Ulrike Müller's “Mock Rock”. Munich, GRIN Verlag, 2016

Web links

• Personal website
• Ulrike Müller at Calicoon Fine Arts
• Ulrike Müller at Galerie Meyer Kainer

Individual evidence

1. ↑ ^{a b c d} "Ulrike Müller Biography" , Callicoon Fine Arts, queried October 1, 2014.
2. ↑ ^{a b c} Schwendener, Martha. "Raw / Cooked - Ulrike Müller" , The New York Times, queried October 1, 2014.
3. ↑ Ulrike Müller | Artspace ( en ) In: Artspace . Retrieved April 5, 2017.
4. ↑ Ulrike Müller at the Cairo Biennale - derStandard.at. Retrieved April 2, 2019 (Austrian German). 
5. ↑ "Ulrike Müller" , Bard College, queried October 1, 2014.
6. ↑ Salzburger Nachrichten: Biennale participant Ulrike Müller: At the beginning of painting is the line. Retrieved April 2, 2019 . 
7. ^ "CV" , Ulrike Müller, queried October 1, 2014.
8. ↑ ^{a b c d} About | Ulrike Müller ( en ) In: um.encore.at . Retrieved April 5, 2017.
9. ↑ Ammer, Manuela. "K8 Hardy and Ulrike Müller" , Frieze Magazine , queried October 1, 2014.
10. ↑ Yale.edu bio on Ulrike Müller
11. ↑ Ulrike Müller - Why I Paint | Art | Agenda | Phaedo .
12. ↑ Art Basel Miami Beach 2016 ( en )
13. ↑ Martha Schwendener: 'Raw / Cooked: Ulrike Müller' at the Brooklyn Museum . In: The New York Times , September 6, 2012. 
14. ↑ Thom Donovan: Ulrike Müller's Herstory Inventory: 100 Feminist Drawings by 100 Artists . 2014.
15. ↑ Ulrike Müller Container .
16. ↑ Ulrike Müller 2016 ( en )
17. ↑ [1]
18. ^ "Raw / Cooked" , The Brooklyn Museum, last updated October 1, 2014.
19. ↑ Exhibitions | Ulrike Müller ( en )
20. ↑ http://www.phileasprojects.org/2017-ulrike-müller.html
21. ↑ Dropout, Dallas 2016 ( en )
22. ↑ [2]
23. ↑ "Ulrike Müller at Kunsthaus Bregenz" , Artnews.org, queried October 1, 2014.
24. ^ "Sonic Episodes" , Dia Art Foundation, queried October 1, 2014.
25. ↑ "Unmonumental Audio" , The New Museum, retrieved October 1, 2014.
26. ↑ Brixlegg artist receives award. Retrieved April 2, 2019 .