01.10.2018 - Amy Sillman: Artist Talk at De Ateliers, Amsterdam
Amy Sillman: Artist Talk
De Ateliers, Amsterdam
2 October, 5-6pm
27.09.2018 - Amy Sillman: Landline at Camden Arts Centre, London
Amy Sillman: Landline
Camden Arts Centre, London
28 September, 2018 - 6 January, 2019
Landline will be Amy Sillman's first institutional exhibition in the UK and will feature a new site-specific installation made for Camden Arts Centre.
Working in a bold new format for the very first time, Sillman has created a sequence of large double-sided works on paper that combine print, drawing and painting.
Amy Sillman: the ALL-OVER at Portikus
Amy Sillman: the ALL-OVER at Portikus
2 July - 4 September, 2016
Portikus presents the ALL-OVER, Amy Sillman's first solo institutional exhibition in Germany. The title of the exhibition refers to a concept often used to describe abstract painting. Sillman updates this idea, of covering the entirity of the canvas, through mechanical means (via inkjet printing) and combines it with the gestural. the ALL-OVER also features a new animation created especially for Portikus, as well as the publication of her tenth zine.
Lynda Benglis, Glenn Ligon, Amy Sillman and Kelley Walker: Painting 2.0: Expression in the Information Age at Museum Brandhorst, Munich
Painting 2.o:Expression in the Information Age
14 November, 2015 - 30 April, 2016
Amy Sillman at the Whitney Biennial 2014, Whitney Museum of American Art, New York
The Whitney Museum is proud to present two works by Amy Sillman at the 2014 Whitney Biennale; 'Mother', a painted work by the artist and 'Fells', a three-dimensional collaboration with sculptor Pam Lins.
On view on the fourth floor of the 2014 Biennial, 'Fells' began with a question posed by sculptor Pam Lins about how to incorporate a painting into a sculpture, a proposal that she has been working for the past decade. Amy Sillman suggested that Lins begin a new work by taking and responding to one of Sillman's own canvases, and this began an ongoing back-and-forth exchange between their two studios. They continued this chain of moves and responses for over a year, Lins adding a form, Sillman changing a painting in reply, Lins painting a panel, and so on. The result is a hybrid structure in which the parts appear somehow coordinated and disjointed at the same time, its sculptural components challenging us to think about three-dimensional space even as its pictorial elements seem to disrupt that solid reality.
Amy Sillman: one lump or two, ICA Boston
Painting is perhaps more vital today than any time since the heyday of the New York School in the late 1940s and 1950s, and Amy Sillman one of its most influential practitioners and thinkers. Through her dramatic shifts in style, sophisticated writings, and her role as head of the painting program at Bard College’s prestigious MFA program, she has proven that the basic building blocks of 20th-century painting are as relevant as ever.
Amy Sillman: one lump or two—the artist’s first museum survey—follows her development as an artist from the mid-1990s to the present, as her work moved from drawing to painting to moving images, and from figuration to abstraction. Featured are more than 90 works, including drawings, paintings, ‘zines (which she calls “a chance to present one’s own epiphanies”), and the artist’s recent forays into animated film.
Sillman’s early works, characterized by cartoon lines and a riot of pastel and acid hues, move effortlessly from figure to landscape, playfully and often humorously exploring problems of physical and emotional scale with observations that are both wry and revealing.
In the mid-2000s, Sillman took a different track as she started to draw couples from life in intimate pencil, ink, and gouache drawings that she then translated from memory into paintings with bold brushstrokes and abstract blocks of rich color. These paintings, with their angular forms and unexpected palettes, proved to be a reinvigorated form of 21st-century abstract expressionism.
As artists started to question painting’s role in an age of reproduction and mass media, many looked to photography. Sillman turned instead to the diagram, injecting into her lush, abstract fields of color the sort of stringent line so often used to communicate complex information. Most recently, Sillman has questioned whether painting needs paint at all, making drawings on her iPhone that she transforms into movies that bring back the neurotic figures of her early images while delving further into the current roles of abstraction, color, and the diagram.
“Sillman is central to the resurgence of public and critical interest in painting and abstraction today,” says Jill Medvedow, Ellen Matilda Poss Director. “This exhibition is a long-awaited opportunity for a close encounter with the emotion, awkwardness, energy, and sheer beauty of Amy Sillman’s art.”
Amy Sillman: Culture Talk Now, ICA London
Amy Sillman's work foregrounds the materiality of painting and its formal, psychological, and conceptual dimensions. She constructs her work in a physical way - through gesture, color, and drawing-based procedures - and imbues it with questions of feminism, performativity, and humor.
Sillman earned her BFA in 1979 from the School of Visual Arts, New York and her MFA in 1998 from Bard College, Annandale-on-Hudson, New York. She has received numerous awards and grants, including a Guggenheim Fellowship, the Louise Comfort Tiffany Foundation Award, the Guna S. Mundheim Fellowship in the Visual Arts from the American Academy in Berlin. Her work has been exhibited widely and is included in the collections of many prestigious institutions including The Museum of Modern Art in New York, The Art Institute of Chicago, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art. She currently lives and works in Brooklyn, New York and is the Co-Chair of painting at the Milton Avery Graduate School of Arts at Bard College.
Sillman's first museum survey, one lump or two, opens at The Institute of Contemporary Art, Boston in October 2013. The exhibition, curated by Helen Molesworth, will travel to the Aspen Museum of Art and the Hessel Museum of Art at Bard College.
£5 / Free to ICA Members