25 July – 29 August 2020
10 – 12 September 2020
Gallery Weekend Berlin
Christine Roland and Kara Hamilton
At Kurfürstenstraße 156
Site-specific installation at Henry Art Gallery
University of Washington, Seattle
11 June 2020 – 7 February 2021
Suzanne Hudson, World of Art: Contemporary Painting, Thames & Hudson
Olomouc Triennale 2020: The Universal, curated by Gina Renotière
Diversity United. Contemporary European Art
Tretyakov Gallery, Moscow
11 November 2020 – 21 February 2021
Undo Things Done Exhibition Tour
Senedd, National Assembly for Wales
26 July – 9 September 2020
Masculinities: Liberation through Photography
Barbican Centre, London; Luma Foundation, Arles, and Martin Gropius Bau, Berlin
Tanya Leighton Gallery, Berlin, established in 2008, is dedicated to developing a cross-disciplinary, trans-generational gallery programme with off-site projects, in collaboration with artists, filmmakers, critics, art historians, and curators. Its international exhibition programme reflects a variety of opinions and practices as well as Leighton’s associations with American and British experimental cinema, artist’s film and video, performance, minimal and conceptual art.
Director: Simon Gowing
Director: Patrick Armstrong
Gallery Manager: Melanie Isabel García
Finance Manager: Stefan Schuster
Tanya Leighton GmbH
Kurfürstenstraße 156 & 24/25
Open Tuesday – Saturday
11am – 6pm and by appointment
7 July – 15 August 2015, Tanya Leighton, Berlin
“Genius lands where genius will, and I’m pretty sure some alighted on Bill Lynch.”
— Roberta Smith, The New York Times, October 2014
Tanya Leighton is proud to present an exhibition of paintings and drawings by Bill Lynch (1960-2013). The exhibition has been curated by Matthew Higgs and developed in collaboration with White Columns, New York.
The exhibition follows two recent, and widely celebrated presentations of Lynch’s work at White Columns (September 2014) and London’s The Approach (January 2015.) The White Columns and Approach exhibitions were selected by Lynch’s friend and fellow painter Verne Dawson. The New York and London exhibitions were the first formal exhibitions of Lynch’s work which were not widely known or exhibited during his lifetime.
Writing on the occasion of the White Columns’ exhibition Dawson said:
“Bill Lynch and I met while students at Cooper Union at the end of the 1970s. Organizing the show at White Columns in New York is surely a most bittersweet experience. It should have happened thirty years ago, or twenty, or ten, or five. But it didn’t. Bill died in 2013 aged 53. He understood touch, understood paint, and understood that these are tools to access the ancient and the present, the living and the dead. His affliction, schizophrenia, eventually made our world difficult for him to be part of.”
Lynch observed the everyday world around him, and in particular the natural world, with an extraordinary degree of empathy. The exhibition at Tanya Leighton will include a group of Lynch’s drawings of frogs and birds, observed from nature, in addition to a group of landscape and still-life paintings made on found wooden supports that Lynch would scavenge from the streets of lower Manhattan. For the most part Lynch’s works remain undated although he worked consistently for more than three decades starting in the early the early 1980s.
Writing about Lynch’s work Michael Wilde has suggested:
“In these pictures everything is alive and communicating wildly. Lynch’s connection to subjects and landscapes, both in life and painting, was empathic: a flower or tree branch sings just as strongly as any bird; likewise a pre-Columbian vessel in spiritual communion with a Chinese philosopher’s stone - and he listened acutely, transcribing their conversation so you could hear it too. Their secrets opened up to him. Everywhere is meaning. Surrounded by his work, you can’t help but be struck by this vibrant language; his sincere belief, his love.”
Bill Lynch (1960-2013) was born in New Mexico and grew up in New Jersey, USA. He studied art in the late 1970s at Cooper Union, New York. Lynch lived in New York, California and North Carolina. He suffered from schizophrenia for many years but died of cancer at the age of 53. His exhibitions at White Columns and The Approach were widely covered including reviews in Artforum, The New Yorker, and The New York Times.
We are grateful to Gerry Lynch and Bill Lynch Snr. and to Bill Lynch’s family and friends for their enthusiasm and support for this exhibition, and we are also indebted to Verne Dawson for bringing Bill Lynch’s work to wider attention.