Voices: Benjamin Tischer, New Discretions, New York
Benjamin Tischer
Benjamin Tischer is the director of New Discretions, located in New York City.
What are some common themes in your program?
I prefer older artists, but hopefully nothing too common about my program.
Who is the artist in your program that you have worked with the longest? How did that relationship begin?
Genesis BREYER P-ORRIDGE. I organized her archives for the Tate before ever working in a gallery.
Who was the first artist you ever worked with? Tell us a bit about that story.
I worked with Scott Hug on his Teenage Bedroom show at John Connelly Presents. It was the first time I experienced firsthand a collector falling in love with something that I loved. Such immediate gratification.
Kinke Kooi, Oh Boy (4), 2017, acrylic, pencil, gouache and collage on paper, 76 x 57 cm. Courtesy of New Discretions.
Who was the last artist who’s studio you visited? Tell us a bit about the work.
The painter Lucy Bull. She makes abstract paintings with just a hint of Max Ernst. She also hosts tabletop gallery shows in her studio/apartment in Silver Lake.
What is it about artists that you respect and honor the most?
Never giving up.
What qualities do you look for in an artist?
It's the whole package. Intelligence, curiosity, a unique message and style.
What is a piece of advice you give to artists?
Only do it if you have to.
What does the art world need more? Less of?
More sculpture! Less painting!
What do you think is the greatest challenge galleries face today? How are you addressing this?
Galleries seem to be following corporate models which insist on continual growth. But maybe being medium-sized is okay. Not every gallery should be Zwirner. Not every artist needs to sell for $100k. And maybe new formats can be explored.Currently, I have no a brick-and-mortar space. It's temporary, but surprising how nice it is to be untethered after sustaining a gallery for 10 years. And sales over cocktails in one's apartment is very pleasant.
How can galleries collectively advance?
Collaboration! More transparency.
How do you see the traditional gallery model evolving as our industry evolves?
Oh, I wish I had the answer. Hopefully more spaces like Minnesota Street Projects, where collectors help foster less commercial galleries.
Kathryn Garcia, Tangerine Dream, 2015, 2018, Colored pencil on Stonehenge paper 50x38in. Courtesy of New Discretions.
Name an artist you don't represent that are particularly drawn to and why.
Salman Toor who works with Aicon Gallery. I am not usually a painting person, but there is something so intimate about his canvases.
What is your personal or professional motto?
Encourage eccentricity.
Why are you passionate about art?
Art offers infinite possibilities.
How have you grown as a dealer over the years?
Oh, I am old and wise. And much more flexible. Rules matter less.
How have you grown as a curator over the years?
See above.
Tell us about a mentor you had early on in your career and what they taught you.
I organized Genesis P-Orridge's archives for the Tate. We spent hours going through documents and artwork. Genesis paired her treasures with stories, made them pregnant with meaning. S/he taught me that artworks at their best are signifiers for people, events and ideas.
What is the best piece of business advice you were given when you first started out?
Be honest. Reputation is everything.
What is your favourite thing about your gallery space?
Not having a space.
Name a person in the art industry that you admire or look up to and why.
There are too many to name!
What is the most important quality you look for in a patron of the gallery and your artists?
People that are not afraid to take risks.
Tell us about one artwork you love living with and why.
A drawing by Michael Bilsborough, which was commissioned using my home in upstate New York. He had cart blanche, and used my fireplace as a staging area for a delirious orgy. It hangs above my bed. It makes me smile.
Tell us about an artwork you recently acquired and why.
A gouache by Heather Benjamin. She is brilliant and true to herself. It's wonderful to watch an artist who started in zines make the transition to the gallery world without compromising.
Name a gallery that you admire and why.
Jeffrey Deitch. I don't share all his tastes, but he is such a great entry point for so many young gallery-goers. And he continually evolves. And he throws a good party.
What would a more sustainable art industry look like?
It is sustainable now, no? It continues. Here we are.
Kathryn Garcia, Forma 1, 2018, Colored pencil on Stonehenge paper 50x38in. Courtesy of New Discretions.
Genesis Breyer P-orridge: Heist, Untitled (purple diptych) (2019) Candy Factory II, Silkscreen on two muslin panels, 90x44x1.5in. Courtesy of New Discretions.