![]() And find Sillman's Faux Pas at After 8 Books later this month. Faux Pas: Selected Writings and Drawings, After 8 Books, 300pp, 20/£20/£24.95 (pb) This. What do you think they were listening to over at the Stonewall, anyway?” Amy Sillman: Temporary Object, Thomas Dane Gallery, Naples, 26 April-29 July. “But disco didn’t suck, and the injunction against it was perhaps more about homophobia and racism than musical taste. “The fear and loathing that AbEx arouses reminds me of that ’70s punk button DISCO SUCKS,” she wrote in that essay. Tickets Tickets for Mud for You : 25 different artistic perspectives in one exhibition. CONTACTS Zoë Rivas Zanello +447737224025 Joanne Boyle Also check out other Arts Events in London, Exhibitions in London. Opening times Tuesday-Saturday 12-6pm, Sunday 12-4pm. That simplistic dismissal smacks of “the worst kind of gender essentialism,” she wrote, and erases what was campy and transgressive in AbEx - qualities that she and many other women and queer painters would later embrace. 139 Whitfield Street London W1T 5EN PV: Friday 31 Mar, 6pm. There are essays on her fellow contemporary painters, as well as on Eugène Delacroix, whose art, she writes, “heaves you around in an imaginary bellows that compresses, squeezes and then releases you.” My favorite Sillman essay remains a mordant and very personal reflection on contemporary painting’s inheritances from Abstract Expressionism, which a whole generation of young artists now reflexively dismiss (too expensive, too egoistic, too male, too C.I.A.-compromised). ![]() Sillman depicts herself strung out and wire-haired, worrying equally about quarantine weight gain and planetary self-destruction. It also offers some great new coronavirus-themed cartoons, in which Ms. …The evidence is in “Faux Pas,” a just-published collection - her fourth - of her writings that display the same good humor and intelligence of her best paintings. What's up at Gladstone Gallery is "just a fraction of the hundreds of abstract paintings she produced over the last 12 months: layered, supercharged compositions of purple, green and goldenrod, overlaid or interrupted by thick contours, daubed stripes, peeking hints of a cup or leg." But about that writing: This made drawing itself seem like an activity not founded on logic but made up of contingencies, overflow: stray parts-a process that might be described as working blind, like a mole, or like a beaver building a thatch, rather than someone with an overarching worldview.Amy Sillman is in "a thin crowd (with, let’s say, Andrea Fraser, Hito Steyerl, Matias Faldbakken, David Salle) of artists who can really write," says Jason Farago in his New York Times profile of the artist, whose prolific painting during COVID-19 isolation is now partly viewable in her new show Twice Removed. OR maybe they never get to a bigger picture at all, but move sideways, abductively, from a particular to particular. Draw-ers, on the other hand, work from the weeks outward, building up from particulars, inductively, scratching and pawing at their paper with tools the scale of their hands. Painters, it seemed like, work from an idea, moving deductively from the big picture down to the details in order to produce or construct an image they have in mind. painters:įor a long time I’d been nurturing a second idea, too, that somehow got nested in these thoughts: that you could divide artists into draw-ers versus painters, and that draw-ers were a subculture. her writings display the same good humor and intelligence of her best paintings. In Further Notes, Sillman writes about a theory of “draw-ers” vs. Sillman is in a thin crowd (with, let’s say, Andrea Fraser, Hito Steyerl, Matias Faldbakken, David Salle) of artists who can really write. The book has 17 essays, including On Color and Further Notes on Shape, an essay Sillman wrote in conjunction with a 2019 group show Sillman curated at MoMA.
0 Comments
Leave a Reply. |