"Mixtape" in Burnaway's best of 2017
The show "Mixtape" by Subverbal Collective made it onto Burnaway's Best of 2017 for the Durham Area!
http://burnaway.org/feature/burnaways-best-2017-favorite-exhibitions-south-beyond/
"...Allison Tierney combined a patterned panel with a fence like structure that leans off of the wall..."
http://burnaway.org/feature/burnaways-best-2017-favorite-exhibitions-south-beyond/
"...Allison Tierney combined a patterned panel with a fence like structure that leans off of the wall..."
Review of "notBIG(4)"
Review by Joel Darland, “Small Is More Than Just A State Of Mind” in Kentucky online publication, UnderMain:
www.under-main.com/arts/small-is-more-than-just-a-state-of-mind/?utm_source=UnderMain%20UpDate&utm_campaign=67c01724fd-EMAIL_CAMPAIGN_2017_08_20&utm_medium=email&utm_term=0_162bdbdb2a-67c01724fd-86723649
"...Of course, there are other works in the show that don’t necessarily treat miniaturization as simply an issue of size or scale. Tom Pfannerstill’s Crushed Starbucks Cup is in actuality a finely detailed painted wood sculpture that both elevates and eternalizes street trash as art object. What appears as stains and damage are the specific details of a meticulously crafted and considered totem of the vastness of urban waste and global consumerism. Likewise, Allison Tierney’s 10/11/2015, a wood panel layered with latex paint that resembles the leftover scraps of a painted canvas, is both painted object and paint as object. Like Pfannerstill, Tierney offers much more to the viewer than what is simply visible in her painting, and recalls Marilyn Minter’s early photorealistic painted floors and sculpted polaroids, playing with the discrepancies between what is seen and what is experienced..."
www.under-main.com/arts/small-is-more-than-just-a-state-of-mind/?utm_source=UnderMain%20UpDate&utm_campaign=67c01724fd-EMAIL_CAMPAIGN_2017_08_20&utm_medium=email&utm_term=0_162bdbdb2a-67c01724fd-86723649
"...Of course, there are other works in the show that don’t necessarily treat miniaturization as simply an issue of size or scale. Tom Pfannerstill’s Crushed Starbucks Cup is in actuality a finely detailed painted wood sculpture that both elevates and eternalizes street trash as art object. What appears as stains and damage are the specific details of a meticulously crafted and considered totem of the vastness of urban waste and global consumerism. Likewise, Allison Tierney’s 10/11/2015, a wood panel layered with latex paint that resembles the leftover scraps of a painted canvas, is both painted object and paint as object. Like Pfannerstill, Tierney offers much more to the viewer than what is simply visible in her painting, and recalls Marilyn Minter’s early photorealistic painted floors and sculpted polaroids, playing with the discrepancies between what is seen and what is experienced..."
Review of "The Things We Keep"
Review by Katherine Fallon in Connect Statesboro:
www.connectstatesboro.com/news/article/9590/
"...Tierney’s emphasis on textiles, craft, and home goods does give a “very subtle nod” to the politics of the domestic sphere, and builds upon the mid-century feminist practice of bringing domestic objects into museums in order to redefine their value.
But to Jason Hoelscher, gallery director and assistant professor of art, Tierney is taking it a step further, “removing the ambiguity” from displaying found objects as art by “adding them to traditional forms.”
“The picture plain with paint is very traditional," Hoelscher said, “but embedding everyday items and crafts into that traditional art context is transformative."..."
www.connectstatesboro.com/news/article/9590/
"...Tierney’s emphasis on textiles, craft, and home goods does give a “very subtle nod” to the politics of the domestic sphere, and builds upon the mid-century feminist practice of bringing domestic objects into museums in order to redefine their value.
But to Jason Hoelscher, gallery director and assistant professor of art, Tierney is taking it a step further, “removing the ambiguity” from displaying found objects as art by “adding them to traditional forms.”
“The picture plain with paint is very traditional," Hoelscher said, “but embedding everyday items and crafts into that traditional art context is transformative."..."
Review of "The Land of no things"
Review by UNC Chapel Hill
uncnews.unc.edu/2015/04/15/the-land-of-no-things-at-ackland-art-museum-to-feature-work-of-11-new-mfa-artists/
uncnews.unc.edu/2015/04/15/the-land-of-no-things-at-ackland-art-museum-to-feature-work-of-11-new-mfa-artists/
Review of "Between intuition and reason"
Review by the Scrap Exchange:
scrapexchange.org/2014/07/29/between-intuition-and-reason-marks-last-exhibit-in-current-location/
scrapexchange.org/2014/07/29/between-intuition-and-reason-marks-last-exhibit-in-current-location/