Ulrike Müller (born 1971 in Austria, lives in New York) engages relationships between abstraction and bodies and a concept of painting that is not restricted to brush and canvas. Employing a wide range of materials and techniques, including performance, publishing, and textiles, her work moves between different contexts and publics, invites collaboration, and expands to other realms of production in processes of exploration and exchange.
Ulrike Müller studied art at the Academy of Fine Arts Vienna, Austria, and participated in the Whitney Museum Independent Study Program, New York. She has been a co-editor of the queer feminist journal LTTR and organized Herstory Inventory. 100 Feminist Drawings by 100 Artists, a collaborative project that was exhibited together with objects from the respective collections at the Brooklyn Museum and at the Kunsthaus Bregenz in 2012. In 2010, Müller represented Austria in the Cairo Biennial.
Recent solo exhibitions include Callicoon Fine Arts (2016), Museum Moderner Kunst Foundation Ludwig Vienna (mumok, 2015) and Kunstraum Lakeside (2014), both in Austria. At mumok, Müller, together with Manuela Ammer, also co-curated the collection exhibition Always, Always, Others (2015). Her work was included in The Little Things Could Be Dearer at PS1 in New York (2013) and in Painting 2.0 at the Museum Brandhorst in Munich (2015). Recent group exhibitions include Invisible Adversaries curated by Tom Eccles and Lauren Cornell at the Hessel Museum of Art, New York and Blackness in Abstraction, curated by Adrienne Richards at Pace Gallery, New York (both 2016). Recent publications include Always, Always, Others, published on the ocasion of Müller's solo and collaborative exhibitions at mumok (2015 - 2016), by mumok and Dancing Foxes Press (2017). Ulrike Müller's work is currently on view in the 2017 Whiteny Biennial, co-curated by Christopher Y. Lew and Mia Locks.