Amy Sillman

Last updated
Amy Sillman
Born1955 (age 68–69)
Detroit, Michigan, United States
Education School of Visual Arts
Known forPainting, drawing, animation, zines
Awards Guggenheim Fellowship, American Academy of Arts & Letters, Joan Mitchell Foundation, Pollock-Krasner Foundation, Louis Comfort Tiffany Foundation, National Endowment for the Arts
Website Amy Sillman
Amy Sillman, Split 2, oil and acrylic on canvas, 75" x 66", 2020. Amy Sillman Split 2 2020.jpg
Amy Sillman, Split 2, oil and acrylic on canvas, 75" x 66", 2020.

Amy Sillman (born 1955) is a New York-based visual artist, known for process-based paintings that move between abstraction and figuration, and engage nontraditional media including animation, zines and installation. [1] [2] [3] Her work draws upon art historical tropes, particularly postwar American gestural painting, as both influences and foils; she engages feminist critiques of the discourses of mastery, genius and power in order to introduce qualities such as humor, awkwardness, self-deprecation, affect and doubt into her practice. [4] [5] [6] Profiles in The New York Times, ARTnews, [3] Frieze, [7] and Interview, [8] characterize Sillman as championing "the relevance of painting" [2] and "a reinvigorated mode of abstraction reclaiming the potency of active brushwork and visible gestures." [1] Critic Phyllis Tuchman described Sillman as "an inventive abstractionist" whose "messy, multivalent, lively" art "reframes long-held notions regarding the look and emotional character of abstraction." [9]

Contents

Sillman has exhibited at institutions including the Museum of Modern Art (MoMA), [10] Whitney Museum, [11] Institute of Contemporary Art, Boston, [12] and Portikus (Frankfurt). [13] She has received a Guggenheim Fellowship [14] and awards from the Joan Mitchell, Louis Comfort Tiffany and Pollock-Krasner foundations, [15] [16] [17] and her art belongs to the public collections of MoMA, [10] the Metropolitan Museum of Art, [18] and Tate Modern, among other recognition. [19]

Amy Sillman is represented by Gladstone Gallery. [20]

Education and early career

Sillman was born in Detroit, Michigan in 1955 and raised in Chicago. [1] [7] At age 19, she moved to New York to study Japanese, but shifted to art, earning a BFA at the School of Visual Arts in 1979. [7] [21] [6] During that time, she immersed herself in ongoing debates about the viability of contemporary painting and became involved with the downtown feminist and counterculture movements, as an assistant to artist Pat Steir and a member and contributor of the feminist journal Heresies. [6] [1] [22] She exhibited sporadically, participating in group shows at PS 122, New Museum, Drawing Center and PS1, among others. [23] [24] [10] [17] She began gaining attention in the mid-1990s for solo exhibitions at Lipton Owens Company, [25] [26] Casey Kaplan, [27] [28] and in the early 2000s, Brent Sikkema (later called Sikkema Jenkins). [29] [30]

During that period, Sillman earned an MFA from Bard College (1995) and joined the school's art faculty in 1996. [1] She taught in Bard's MFA painting program from 1997 to 2013, and served as chair of the painting department from 2002 to 2013. [7] [31] She subsequently taught at the Städelschule in Frankfurt, Germany. [32]

Amy Sillman, Detail from The Umbrian Line, gouache, ink, pencil on paper, approx. 9" x 12", 2000; entire work, 25 sections approx. 15" x 400" total. Amy Sillman Det. The Umbrian Line 2000.jpg
Amy Sillman, Detail from The Umbrian Line, gouache, ink, pencil on paper, approx. 9" x 12", 2000; entire work, 25 sections approx. 15" x 400" total.

Work and reception

Sillman's art combines traditional formal concerns—explorations of color, shape, surface and line, play with figure and ground, scale, and flat versus recessive space—that she complicates with approaches from other media (drawing, cartoons, collage, animation) and unconventional display strategies. [4] [33] [1] She employs an interior, personal process—largely grounded in drawing—that involves constructing, deconstructing and reconstructing the painting space through layers of transformation, improvised action and redaction. [5] [34] [3] [8] Artforum critic Linda Norden wrote that this commitment to "constructive erasure" and "unpainting" distinguishes Sillman from Abstract expressionists (e.g., de Kooning and Guston) that she is compared to. [5] Sillman's art is marked by a direct engagement with materials and radical shifts in palette, brushwork, scale and the structuring logic of either drawing or painting. [4] [21] Critics attribute the dialectical quality of her work—playful, incisive humor and angst, comic awkwardness and prowess, figuration and abstraction—to these shifts. [2] [7] [8]

Earlier painting

Sillman's earlier work moved between figure, landscape and abstraction, fusing loose painting and drawing into what reviews described as dreamlike, absurd or wistful psychological narratives. [25] [35] [30] Rendered in cheery, vaguely acidic palettes, these paintings depicted simple, self-contained figures—often a small, Eve-like woman wandering open grounds—amid Boschian piles of biomorphic shapes, abstract scumbles, drips and calligraphic linework. [5] [35] [29] New York Times critic Roberta Smith noted their dense "undergrowth" of imagery and "translucent delicacy," which she wrote, "pok[ed] fun at painting's often masculine sense of bravura, while offering alternative forms of turbulence and power." [25] Helen Molesworth wrote that paintings such as Me and Ugly Mountain (2003)—which depicts a lone figure dragging, an enormous bundle of shapes, scrawls and "neurotic energy" by a thinly painted line—shifted the feminist critique of the gaze from the structure of representation to the feelings that arise when one is aware of being looked at. [4] [30]

Amy Sillman, Purple Thing, oil on canvas, 80" x 72", 2006. Amy Sillman Purple Thing 2006.jpg
Amy Sillman, Purple Thing, oil on canvas, 80" x 72", 2006.

In the mid-2000s, Sillman's heap-like compositions gave way to an enlarged scale, broader, more physical gestures and explorations of the body, interpersonal dynamics, the erotic and psychosexual tension. [36] [5] [37] [38] These works consisted of patches of high-contrast color bursting with chaotic line and web-like scaffolding, open fields of subtly modulated color, and crude figurative elements emerging along compositional fault lines or out of rough edges and thickets of brushstrokes (The Elephant in the Room, 2006). [36] [39] [5] In 2007, Sillman began creating large gestural abstract paintings based on black-and-white drawings she made from observing couple friends in casual moments of domestic intimacy. [5] [40] [4] She recreated the original drawings from memory, then rotated and reworked them into abstract painting "templates." The paintings consisted of richly hued, abutting trapezoidal shapes on flat picture planes, which were crisscrossed and circumscribed by bold angular, diagrammatic lines reminiscent of architecture or sculptural construction. [40] [4] She exhibited the paintings and drawings at the Hirshhorn Museum in 2008; Artforum described the drawings as "equally tender and ruthless" in touch and economical in their markmaking. [40]

Later painting, drawing and animation

Sillman mounted several exhibitions in the 2010s that were noted for their invention, restlessness and new formats that emphasized temporal aspects of her work. [13] [41] [42] [43] Her first major museum retrospective, "one lump or two" at the Institute of Contemporary Art (2013), included paintings rooted in a smartphone drawing application and cartoons, diagrams, zines and "animated drawings" that Artforum's Cameron Martin wrote, "pack just as much of a wallop as her starkly physical canvases." [12] [44] The initial animated drawings expanded on or reworked variations of individual paintings and were displayed on small screens, reflecting the modest scale of their creation. [2] [45] [46] The shows "the All-Over" (Portikus, 2016) and "Mostly Drawing" (Gladstone 2018) featured sequential, end-to-end installations (like film frames or accordion books) of multi-media works combining silkscreened or ink-jet printed, painted and drawn elements. [13] [41] [8] Their layered networks of figurative elements, abstract gesture and blended color passages created a sense of metamorphic transformation across pieces and effaced lines between reproduction and spontaneity, painting and print. [34] [47] [8] [33] [3] Frieze critic Elisa R. Linn wrote of Panorama (2016), "traces of [Sillman's] thinking coalesce on the canvas, revealing fragile forms apparently stuck in the constant process of their own remaking." [13]

Amy Sillman, Installation from "the All-Over" exhibition, 24 canvasses silkscreened and painted in acrylic and ink, each panel approx. 50" X 70", 2016, Portikus, Frankfurt, Germany. Amy Sillman Inst. the All-Over 2016.jpg
Amy Sillman, Installation from "the All-Over" exhibition, 24 canvasses silkscreened and painted in acrylic and ink, each panel approx. 50" X 70", 2016, Portikus, Frankfurt, Germany.

In 2017, Sillman presented After Metamorphoses (The Drawing Center), a five-minute, looped and projected animated drawing that was her most complex and ambitious to date. [48] [45] It condensed Ovid’s fifteen-book epic poem Metamorphoses into a shape-shifting amalgamation of abstract painting and layered, interpenetrating forms and landscapes. Its digitally drawn shapes and characters underwent strange, sometimes mythical or comical mutations in a manic rhythm that extended the figuration-abstraction oscillation characteristic of her broader practice. [48] [45] [21]

Sillman presented less process-oriented work marked by current-day political concerns in the exhibition "Landline" (Camden Arts Centre, London, 2018). [42] [21] The show included "Dub Stamp" (2018), twelve double-sided works on paper hung on a diagonally stretched cord, which were based on drawings of a figure crawling along abjectly in the aftermath of the 2016 U.S. presidential election. She silkscreened the originals at a larger size and worked into them; Artforum wrote of its simultaneously playful and violent effect: "broken-up, magnified, and displaced shapes step into the breach of a world de-constituting itself as objective reality. They index … the slipperiness of a reality that is increasingly ungraspable, one in which the space between things is quickly evaporating." [42] [34] [41]

Sillman's 2020 exhibition, "Twice Removed," (Gladstone) juxtaposed large, improvisational canvases and paper works—layers of silk-screened polka-dot passages, calligraphic swoops, stripes and brushed stains of color, and hints of figuration—with a surprising new body of work: small, delicate flower still lifes. [9] [1] [49] Reviews described the slightly askew compositions of the paintings as evoking a sense of looming things on the verge of tottering over, or of shifting ground—a reflection of a fraught year plagued by the COVID pandemic. [1] [7] The New Yorker's Hilton Als wrote that the spontaneity of the still lifes—painted while in pandemic-driven seclusion—conveyed "the lush despair and loneliness of van Gogh’s sunflowers and irises" and "the joy and the sadness inherent in time." [43]

Zines, writing and curating

In 2009, while living in Berlin, Sillman began producing a zine, The O-G, that she often paired with her exhibitions or paintings; in 2020 it had reached its fourteenth issue. [33] [48] [50] The O-G has included a wide range of material: cartoons, satiric art-world dinner seating charts, essays, visual and textual pieces fleshing out threads in Sillman's art, as well as work by other artists and writers. [42] [51] [52]

Sillman has written about art and artists for catalogues and journals such as Artforum, ARTnews, Texte zur Kunst, and Frieze. [31] [6] She has published four collections of her writing, the last being Faux Pas (2020, After 8 Books, Paris), [53] which includes essays on John Chamberlain, Eugène Delacroix, Rachel Harrison, Laura Owens, and contemporary painting's inheritances from Abstract Expressionism. [1] [7]

Sillman has curated exhibitions at MoMA (2019), Hammer Museum (2008) and Artists Space (2005). [54] [55] [56] The MoMA show, "The Shape of Shape" (assembled with MoMA curator Michelle Kuo and Jenny Harris), gathered 75 objects from the museum's collection, from well-known artists to some that never exhibited at MoMA; Roberta Smith wrote that the show's "robust visual appetite" addressed the "fear of painting, color and form" that has allowed contemporary painting to lose ground to conceptual art and its derivatives. [57] [7]

Awards and collections

Sillman has been recognized with a Guggenheim Fellowship (2001), [14] election to the American Academy of Arts and Letters (2020), [58] and awards from the National Endowment for the Arts (1995), Joan Mitchell, Louis Comfort Tiffany and Pollock-Krasner foundations (1999), [15] [16] American Academy in Berlin (2009), [59] and Brooklyn Museum (2012), among others. [60] [61]

Her work belongs to the public collections of the Art Institute of Chicago, [62] Baltimore Museum of Art, [63] Blanton Museum of Art, [64] Brooklyn Museum, [65] Hammer Museum, [55] Los Angeles Museum of Contemporary Art, [66] Metropolitan Museum of Art, [18] Milwaukee Art Museum, [67] Moderna Museet (Stockholm), [68] Museum Brandhorst (Munich), [69] Museum of Modern and Contemporary Art of Trento and Rovereto (MART), Museum of Fine Arts, Boston, [70] MoMA, [10] National Gallery of Art, [71] Saatchi Gallery, [72] San Francisco Museum of Modern Art, [73] Tate Modern, [19] Weatherspoon Art Museum, [74] and Whitney Museum, [75] among others. [17]

Related Research Articles

<span class="mw-page-title-main">Philip Guston</span> Canadian American painter, printmaker, muralist and draftsman

Philip Guston was a Canadian American painter, printmaker, muralist and draftsman. "Guston worked in a number of artistic modes, from Renaissance-inspired figuration to formally accomplished abstraction," and is now regarded as one of the "most important, powerful, and influential American painters of the last 100 years." He frequently depicted racism, antisemitism, fascism and American identity, as well as, especially in his later most cartoonish and mocking work, the banality of evil. In 2013, Guston's painting To Fellini set an auction record at Christie's when it sold for $25.8 million.

<span class="mw-page-title-main">Inka Essenhigh</span> American painter

Inka Essenhigh is an American painter based in New York City. Throughout her career, Essenhigh has had solo exhibitions at galleries such as Deitch Projects, Mary Boone Gallery, 303 Gallery, Stefan Stux Gallery, and Jacob Lewis Gallery in New York, Kotaro Nukaga, Tomio Koyama Gallery in Tokyo, and Il Capricorno in Venice.

<span class="mw-page-title-main">Cecily Brown</span> British painter

Cecily Brown is a British painter. Her style displays the influence of a variety of contemporary painters, from Willem de Kooning, Francis Bacon and Joan Mitchell, to Old Masters like Rubens, Poussin and Goya. Brown lives and works in New York.

<span class="mw-page-title-main">Ronald Davis</span> American painter (born 1937)

Ronald "Ron" Davis is an American painter whose work is associated with geometric abstraction, abstract illusionism, lyrical abstraction, hard-edge painting, shaped canvas painting, color field painting, and 3D computer graphics. He is a veteran of nearly seventy solo exhibitions and hundreds of group exhibitions.

Joe Bradley is an American visual artist, known for his minimalist and color field paintings. He is also the former lead singer of the punk band Cheeseburger. Bradley has been based in New York City and Amagansett.

<span class="mw-page-title-main">Maria Lassnig</span> Austrian artist (1919–2014)

Maria Lassnig was an Austrian artist known for her painted self-portraits and her theory of "body awareness". She was the first female artist to win the Grand Austrian State Prize in 1988 and was awarded the Austrian Decoration for Science and Art in 2005. Lassnig lived and taught in Vienna from 1980 until her death.

<span class="mw-page-title-main">Dannielle Tegeder</span>

Dannielle Tegeder is a contemporary artist who works with installation, animation and sound and is best known for her abstract paintings and drawings. She lives in Brooklyn, New York and maintains a studio at The Elizabeth Foundation in Times Square, Manhattan.

<span class="mw-page-title-main">Howardena Pindell</span> American painter

Howardena Pindell is an American artist, curator, critic, and educator. She is known as a painter and mixed media artist who uses a wide variety of techniques and materials. She began her long arts career working with the New York Museum of Modern Art, while making work at night. She co-founded the A.I.R. gallery and worked with other groups to advocate for herself and other female artists, Black women in particular. Her work explores texture, color, structures, and the process of making art; it is often political, addressing the intersecting issues of racism, feminism, violence, slavery, and exploitation. She has created abstract paintings, collages, "video drawings," and "process art" and has exhibited around the world.

<span class="mw-page-title-main">Ted Stamm</span> American artist (1944–1984)

Ted Stamm (1944-1984) was an American minimalist and conceptualist artist.

<span class="mw-page-title-main">Ulrike Müller (artist)</span> Austrian artist

Ulrike Müller is a contemporary visual artist. Müller is a member of the New York-based feminist genderqueer group LTTR as well as an editor of its eponymous journal. She also represented Austria at the Cairo Biennale in 2011. She is currently a professor and co-chair of Painting at the Milton Avery Graduate School of the Arts at Bard College in Annandale-on-Hudson, New York.

<span class="mw-page-title-main">Polly Apfelbaum</span> American contemporary visual artist (born 1955)

Polly E. Apfelbaum is an American contemporary visual artist, who is primarily known for her colorful drawings, sculptures, and fabric floor pieces, which she refers to as "fallen paintings". She currently lives and works in New York City, New York.

<span class="mw-page-title-main">Candida Alvarez</span> American painter

Candida Alvarez is an American artist and professor, known for her paintings and drawings.

Ann Pibal is an American painter who makes geometric compositions using acrylic paint on aluminum panel. The geometric intensity is one of the key characteristics that defines her paintings.

<span class="mw-page-title-main">Gina Beavers</span> American artist

Gina Beavers is an American artist based in the New York area. She first gained attention in the early 2010s for thickly painted, relief-like acrylic images of food, cosmetics techniques and bodybuilders appropriated from Instagram snapshots and selfies found using hashtags such as #foodporn, #sixpack and #makeuptutorial. Her later work has continued to recombine these recurrent subjects, as well as explore memes, irreverent conflations of genres or art history and kitsch, identity, fandom and celebrity-worship. In 2019, New York Times critic Martha Schwendener described her paintings as "canny statements on contemporary bodies, beauty and culture … [that] tackle the weirdness of immaterial images floating through the ether, building them up into something monumental, rather than dismissing them."

<span class="mw-page-title-main">Joanna Pousette-Dart</span> American visual artist (born 1947)

Joanna Pousette-Dart is an American abstract artist, based in New York City. She is best known for her distinctive shaped-canvas paintings, which typically consist of two or three stacked, curved-edge planes whose arrangements—from slightly precarious to nested—convey a sense of momentary balance with the potential to rock, tilt or slip. She overlays the planes with meandering, variable arabesque lines that delineate interior shapes and contours, often echoing the curves of the supports. Her work draws on diverse inspirations, including the landscapes of the American Southwest, Islamic, Mozarabic and Catalan art, Chinese landscape painting and calligraphy, and Mayan art, as well as early and mid-20th-century modernism. Critic John Yau writes that her shaped canvasses explore "the meeting place between abstraction and landscape, quietly expanding on the work of predecessors", through a combination of personal geometry and linear structure that creates "a sense of constant and latent movement."

<span class="mw-page-title-main">Harriet Korman</span> American painter

Harriet Korman is an American abstract painter based in New York City, who first gained attention in the early 1970s. She is known for work that embraces improvisation and experimentation within a framework of self-imposed limitations that include simplicity of means, purity of color, and a strict rejection of allusion, illusion, naturalistic light and space, or other translations of reality. Writer John Yau describes Korman as "a pure abstract artist, one who doesn’t rely on a visual hook, cultural association, or anything that smacks of essentialization or the spiritual," a position he suggests few post-Warhol painters have taken. While Korman's work may suggest early twentieth-century abstraction, critics such as Roberta Smith locate its roots among a cohort of early-1970s women artists who sought to reinvent painting using strategies from Process Art, then most associated with sculpture, installation art and performance. Since the 1990s, critics and curators have championed this early work as unjustifiably neglected by a male-dominated 1970s art market and deserving of rediscovery.

Frances Barth is an American visual artist best known for paintings situated between abstraction, landscape and mapping, and in her later career, video and narrative works. She emerged during a period in which contemporary painters sought a way forward beyond 1960s minimalism and conceptualism, producing work that combined modernist formalism, geometric abstraction, referential elements and metaphor. Critic Karen Wilkin wrote, "Barth's paintings play a variety of spatial languages against each other, from aerial views that suggest mapping, to suggestions of perspectival space, to relentless flatness ... [she] questions the very pictorial conventions she deploys, creating ambiguous imagery and equally ambiguous space that seems to shift as we look."

Michelle Kuo is an American curator, writer, and art historian. Since 2018, Kuo has been a curator of painting and sculpture at the Museum of Modern Art. She was previously editor-in-chief of Artforum magazine starting in 2010.

James Little is an American painter and curator. He is known for his works of geometric abstraction which are often imbued with exuberant color. He has been based in New York City.

<span class="mw-page-title-main">Robert Bordo</span> Canadian-American painter

Robert Bordo is a New York-based, Canadian-American artist known for paintings that blend modernist formal concerns with postmodern approaches to image, subject matter and metaphor. Throughout his career, he has worked in painting series positioned between representation and abstraction that critics characterize as conceptually structured, yet sensual in execution. These series explore recurring, often overlapping themes, such as memory and experience, the passage of time, landscape and weather phenomena, mapping, and mark-making as an indicator of thought. New York Times critic Roberta Smith described Bordo's early map paintings as charting an idiosyncratic "hybrid discipline … a kind of cartographically conscious rerouting of modernism"; in a 2019 New Yorker review of his "crackup" paintings, Andrea Scott wrote, "Bordo's imagery is an apt metaphor for our current, contentious political climate, but his true subject is painting itself: how easily it can tip realism into abstraction or shift figure-ground relations until it's impossible to discern whether you’re on the inside looking out or vice versa."

References

  1. 1 2 3 4 5 6 7 8 9 Farago, Jason. "Amy Sillman’s Breakthrough Moment Is Here," The New York Times, October 9, 2020, p. C1. Retrieved March 1, 2022.
  2. 1 2 3 4 Loos, Ted. "Blobs and Slashes, Interrupted by Forms," The New York Times, September 29, 2013, p. AR20. Retrieved March 1, 2022.
  3. 1 2 3 4 Tuchman, Phyllis. "Artisanal Abraction: The Elusive, Effusive Art of Amy Sillman," ARTnews, February 16, 2018. Retrieved March 2, 2022.
  4. 1 2 3 4 5 6 Molesworth, Helen. "Amy Sillman: Look, Touch, Embrace," Amy Sillman: One Lump or Two, Helen Molesworth (ed.), Munich: Prestel, 2013. Retrieved March 2, 2022.
  5. 1 2 3 4 5 6 7 Norden, Linda. "Amy Sillman: The Elephant in the Painting," Artforum, February 2007, p. 238–45. Retrieved March 2, 2022.
  6. 1 2 3 4 Wu, Simon. "Amy Sillman," Artists, Museum of Modern Art, 2021. Retrieved March 1, 2022.
  7. 1 2 3 4 5 6 7 8 Noor, Tausif. "Amy Sillman," Frieze, March 2021. Retrieved March 1, 2022.
  8. 1 2 3 4 5 Mullen, Matt. "The Playfully Troubled Art of Amy Sillman," Interview, January 25, 2018. Retrieved March 1, 2022.
  9. 1 2 Tuchman, Phyllis. "Amy Sillman: Twice Removed," The Brooklyn Rail, November 14, 2020. Retrieved March 1, 2022.
  10. 1 2 3 4 Museum of Modern Art. "Amy Sillman,", Artists. Retrieved March 1, 2022.
  11. ↑ Molesworth, Helen. "The Whitney Biennial," Artforum, May 2014. Retrieved March 9, 2022.
  12. 1 2 Martin, Cameron. "Amy Sillman 'one lump or two,'" Artforum, September 2013. Retrieved March 1, 2022.
  13. 1 2 3 4 Linn, Elisa. "Amy Sillman: Portikus, Frankfurt," Frieze, October 2016. Retrieved March 1, 2022.
  14. 1 2 John Simon Guggenheim Memorial Foundation. "Amy Sillman," Fellows. Retrieved March 1, 2022.
  15. 1 2 Joan Mitchell Foundation. "Amy Sillman," Supported Artists. Retrieved March 1, 2022.
  16. 1 2 Louis Comfort Tiffany Foundation. "Previous Biennial Competition Award Winners –1999," Retrieved March 1, 2022.
  17. 1 2 3 Smith, Valérie. Amy Sillman, London: Lund Humphries Publishers, 2019. Retrieved March 1, 2022.
  18. 1 2 The Metropolitan Museum of Art. Finger x 2, 2015, Amy Sillman, Art Collection. Retrieved March 3, 2022.
  19. 1 2 Tate Modern. Amy Sillman, Artists. Retrieved March 9, 2022.
  20. ↑ "Amy Sillman - Gladstone Gallery". www.gladstonegallery.com. Retrieved 2024-06-30.
  21. 1 2 3 4 Kamps, Toby. "Amy Sillman with Toby Kamps," The Brooklyn Rail, December 11, 2018. Retrieved March 1, 2022.
  22. ↑ The Heretics. Amy Sillman, Women. Retrieved March 3, 2022.
  23. ↑ New Museum. "Michael Byron, Lisa Hoke, Amy Sillman," Exhibitions. Retrieved March 8, 2022.
  24. ↑ Drawing Center. "Selections 34," Exhibitions. Retrieved March 9, 2022.
  25. 1 2 3 Smith, Roberta. "Amy Sillman," The New York Times, June. 17, 1994, p. C21. Retrieved March 1, 2022.
  26. ↑ Hovey, Brock. "On the Edge: Amy Sillman, Subconscious Riot," ARTnews, 1995.
  27. ↑ Frankel, David. "Amy Sillman," Artforum, September 1996. Retrieved March 7, 2022.
  28. ↑ Cotter, Holland. "Amy Sillman," The New York Times, March 20, 1998, p. E37. Retrieved March 3, 2022.
  29. 1 2 Smith, Roberta. "Amy Sillman," The New York Times, April 21, 2000, p. E40. Retrieved March 3, 2022.
  30. 1 2 3 Glueck, Grace. "Amy Sillman," The New York Times, May 8, 2003, p. E32. Retrieved March 3, 2022.
  31. 1 2 Bard College. Amy Sillman, Bios. Retrieved March 1, 2022.
  32. ↑ Staedelschule. "Past faculty," History. Retrieved March 1, 2022.
  33. 1 2 3 Vogel, Wendy. "Amy Sillman, 'Mostly Drawing,'" Art Review, April 2018.
  34. 1 2 3 Hatfull, Nicholas. "The Vicarious Warmth of Amy Sillman’s Paintings," Frieze, October 26, 2018. Retrieved March 2, 2022.
  35. 1 2 Kimmelman, Michael. "Amy Sillman," The New York Times, April 5, 1996, p. C28. Retrieved March 3, 2022.
  36. 1 2 Avgikos, Jan. "Amy Sillman: The Elephant in the Painting," Artforum, Summer 2006. Retrieved March 2, 2022.
  37. ↑ Caniglia, Julie. "Amy Sillman," Artforum, July 2003. Retrieved March 7, 2022.
  38. ↑ Rosenberg, Karen. "Boldness Comes With Manifesto," The New York Times, May 11, 2010, p. C1. Retrieved March 3, 2022.
  39. ↑ Johnson, Ken. "Amy Sillman," The New York Times, April 28, 2006, p. E37. Retrieved March 3, 2022.
  40. 1 2 3 Rich, Sarah K. "Amy Sillman," Artforum, September 2008. Retrieved March 3, 2022.
  41. 1 2 3 Stakemeier, Kerstin. "An Impossible Language," Flash Art, November 2018—January 2019. Retrieved March 2, 2022.
  42. 1 2 3 4 Haidu, Rachel. "Amy Sillman, Camden Arts Centre," Artforum, December 2018. Retrieved March 2, 2022.
  43. 1 2 Als, Hilton. "Amy Sillman," The New Yorker, October 2020. Retrieved March 1, 2022.
  44. ↑ Garza, Evan. "Critic's Picks: Amy Sillman 'one lump or two,'" Artforum, October 31, 2013. Retrieved March 1, 2022.
  45. 1 2 3 Halter, Ed. "Amy Sillman: After Metamorphoses puts Ovid in motion," 4Columns, March 10, 2017. Retrieved March 2, 2022.
  46. ↑ Hoberman, J. "Film: Best of 2013," Artforum, December 2013. Retrieved March 2, 2022.
  47. ↑ Bier, Arielle. "Critics Pick: Amy Sillman," Artforum, August 2016. Retrieved March 3, 2022.
  48. 1 2 3 Kopel, Dana. "Pace of Change: Amy Sillman at the Drawing Center," Art in America, January 31, 2017. Retrieved March 1, 2022.
  49. ↑ Fateman, Johanna. "Amy Sillman," 4Columns, October 23, 2020. Retrieved March 1, 2022.
  50. ↑ Sillman, Amy. Zines. Retrieved March 7, 2022.
  51. ↑ Burton, Johanna. "Amy Sillman," Artforum, September 2010, p. 326. Retrieved March 7, 2022.
  52. ↑ Saunders, Matt. "Amy Sillman," Artforum, March 2014, p. 282–3. Retrieved March 7, 2022.
  53. ↑ Sillman, Amy. Amy Sillman Faux Pas, Paris: After 8 Books, 2020. Retrieved March 9, 2022.
  54. ↑ Museum of Modern Art. "Artist’s Choice: Amy Sillman, The Shape of Shape," Exhibitions. Retrieved March 1, 2022.
  55. 1 2 Hammer Museum. Amy Sillman, Programs. Retrieved March 9, 2022.
  56. ↑ Artists Space. " Hunch & Flail," Exhibitions. Retrieved March 9, 2022.
  57. ↑ Smith, Roberta. "MoMA’s Art Treasure, No Longer Buried," The New York Times, October 18, 2019, p. C18. Retrieved March 1, 2022.
  58. ↑ American Academy of Arts and Letters. Amy Sillman, Member. Retrieved March 9, 2022.
  59. ↑ American Academy in Berlin. "Amy Sillman, Guna S. Mundheim Fellow in the Visual Arts - Class of Spring 2009," Fellows. Retrieved March 1, 2022.
  60. ↑ Ryzik, Melena. "Brooklyn Museum to Honor ‘First’ Women," The New York Times, March 12, 2012. Retrieved March 9, 2022.
  61. ↑ Miller, Peter Benson. "A Brush with Resident Amy Sillman," American Academy in Rome. March 18, 2015. Retrieved March 1, 2022.
  62. ↑ Art Institute of Chicago. Amy Sillman, Artists. Retrieved March 9, 2022.
  63. ↑ Baltimore Museum of Art. Amy Sillman, People. Retrieved March 9, 2022.
  64. ↑ Blanton Museum of Art. Amy Sillman, Artist. Retrieved March 9, 2022.
  65. ↑ Brooklyn Museum. "Amy Sillman," Artists. Retrieved March 1, 2022.
  66. ↑ Los Angeles Museum of Contemporary Art Untitled (Purple Bottle), Amy Sillman, Collections. Retrieved March 9, 2022.
  67. ↑ Milwaukee Art Museum. "Remembering Joe Ketner," September 20, 2018. Retrieved March 9, 2022.
  68. ↑ Moderna Museet. Blue Is the Color of Your Eyes, Exhibitions. Retrieved March 9, 2022.
  69. ↑ Museum Brandhorst. Amy Sillman, Fatso, 2009, Art. Retrieved March 9, 2022.
  70. ↑ Museum of Fine Arts, Boston. Amy Sillman, Objects. Retrieved March 9, 2022.
  71. ↑ National Gallery of Art. Amy Sillman, Collection. Retrieved March 9, 2022.
  72. ↑ Saatchi Gallery. Amy Sillman, Artist. Retrieved March 9, 2022.
  73. ↑ San Francisco Museum of Modern Art. Amy Sillman, Artist. Retrieved March 9, 2022.
  74. ↑ Weatherspoon Art Museum. Amy Sillman, Artist. Retrieved March 1, 2022.
  75. ↑ Whitney Museum of American Art. Amy Sillman, Artists. Retrieved March 9, 2022.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.