Amy Sillman : the Allover
Material type:
TextPublication details: Dancing Foxes Pr, 2017 Brooklyn [NY]Description: 164 Pages, Illustrations & Photographs, 27cmContent type: - text
- 9780998632629
- 759.13 SIL
| Item type | Current library | Call number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|
| Standard Loan | LSAD Library Main Collection | 759.13 SIL (Browse shelf(Opens below)) | Available | 39002100638007 |
Enhanced descriptions from Syndetics:
Shifting between figuration and abstraction, comedy and doubt, order and mess, Amy Sillman's painting has greatly influenced generations of American artists
New York-based Amy Sillman (born 1955) is one of the most beloved and quietly influential contemporary American artists. The ALL-OVER provides a comprehensive overview of her most recent bodies of work, including painting and serially exhibited large-scale abstractions, as well as diagrams, drawings, animations and sculpture.
The title of the book, and the exhibition it accompanies at Frankfurt's Portikus, refers to a concept often used to describe abstract painting (the classic instance of which is the work of Jackson Pollock). Much of Sillman's oeuvre can be categorized as such, although her abstractions often suggest recognizable forms and figures. In the 24-canvas series Panorama , motifs seem to run continuously around the walls of the exhibition space, but in fact are repeated prints of the artist's drawings with painterly interventions. The materiality is lost through the superimposition of print and oil paint; what remains is pure color and gesture. Also present here are stills from an animation developed by Sillman to be exhibited alongside Panorama and an insert made especially for the book by the artist. Alongside essays by Manuela Ammer, Yve-Alain Bois and Sillman herself. The book includes a conversation with the artist by Fabian Sch neich.
Published in conjunction with an exhibition held at Portikus, Frankfurt, July 2-September 11, 2016, curated by Fabian Schöneich.
Sillman's works can be categorized as abstract painting, although her abstractions repeatedly allow forms and figures to be recognized. The title of the exhibition 'the ALL-OVER' refers to a concept often used to describe abstract painting. At its most literal, it refers to the practice of completely covering the canvas, a format that resists a traditional figure/ground hierarchy. The classic example of the style is embodied by the work of the American artist Jackson Pollock, though as the influential critic Clement Greenberg pointed out, the style in fact originated with the Ukrainian-American artist Janet Sobel. Sillman adapts this?all-over? idea, using it as the title for her exhibition, which does not feature drip paintings as such, but which updates the idea of total coverage of the canvas through mechanical means (via inkjet printing) used in combination with the gestural. Panorama, consisting of twenty-four canvases, was developed for Portikus and is here seen in its entirety for the first time.00Exhibition: Portikus, Frankfurt am Main, Germany (02.07. - 11.09.2016)