 |
Email PageAmy Sillman 2006
April 8, 2006- May 6, 2006
Reception: April 8, 6:00 pm - 8:00 pm
Amy Sillman
Sikkema, Jenkins & Co
530 W 22nd St Amy Sillman Get The Moon (2006) |  Amy Sillman A Bird in the Hand (2006) |  Amy Sillman Them (2006) |
In thinking about this new body of work Amy Sillman has said; "My new work is a group of paintings that extend, unfold and lay bare the vocabulary of my imagery. The images arise from the simplicity of the everyday and the intensities of a psychosexual imaginary, and are rendered in paintings that run a gamut from the depths and intensities of heavily-layered painterly surfaces all the way to the starkness of enormous drawings on bare canvas. The language of these paintings is an intentionally awkward and anxious one, drawn from the process of free association, a liminal and interwoven space of interior and exterior experience. The work employs an emotional, expressive language involving issues of affect, affection, and attachment balanced against skepticism - and as always, a rigorously formal interest in painterly concerns, particulary that of color and its functions both formally and psychologically."
Amy Sillman has exhibited throughout the US and Europe. A book of her drawings, published by Gregory R. Miller & Co., will be out this summer.
Art Reviews of Amy Sillman 2006
| New York Times April 28, 2006 | Ken Johnson | "...The trouble is a certain fuzziness of purpose. It is possible to see the play of different vocabularies as expressing psychological complexity and conflict, though about what remains obscure. On the other hand, because all the moves Ms. Sillman makes are stylistically conventional, you might guess that she wants her painting to be read as a play with clichés, like the painting of Jonathan Lasker or Thomas Nozkowski...." | ||
| Village Voice April 24, 2006 | Jerry Saltz | "...Sillman is an artistic gypsy, a nervy painter who loves mid-century abstraction and modernism, someone whose work can be borderline abstract expressionistic. Sillman traverses the gap between Philip Guston's early abstraction and his later "stumblebum" figuration. She seems smitten with de Kooning, Diebenkorn, Gorky, Giacometti, Matta, and even Julian Schnabel. This means that the irony in her art, to the extent that it's there at all, is recessive. This can cause Sillman's work, as bold as it is, to sometimes look old-fashioned...." |
Books and DVDs related to artists in this show
|
 | |||||||||||||||||
|
© 2005-2008 chelseaartgalleries.com | Terms of Use | Privacy Policy
| Site Map |
