A collection of relatable but often erudite texts, Sillman’s Faux Pas: Selected Writings and Drawings muses on the unwieldy question of painting’s status in a world preoccupied with bigger problems.
Messy and tender, like a summer fling, Sillman’s drawings embody both the sense of decay and unyielding hunger for life that marks our current times.
Artist Amy Sillman will introduce Lang’s previously censored film Scarlet Street (1945) at Metrograph.
BOSTON — Before 1968, when Philip Guston more or less began working on a new body of work that would define his late career, it could be said of him, as it was of Lord Dartmouth by the poet William Cowper: this was a man “who wears a coronet and prays.”
As news of art fairs and Bjork took the spotlight earlier this month, I lingered on the Museum of Modern Art’s The Forever Now: Contemporary Painting in an Atemporal World, up through early April.
The Forever Now: Contemporary Painting in an Atemporal World, the new exhibition at the Museum of Modern Art, prompted thoughts of Elizabeth Kübler-Ross’s five stages of grief: denial, anger, bargaining, depression and acceptance, though I’m not sure how much acceptance there is in the end.
Considering that I had always thought of Amy Sillman as an abstract painter, I was surprised to encounter, after seeing her mid-career retrospective at the Hessel Museum of Bard College, an oeuvre that was entirely about the body, touch, and the awkwardness of human interaction.
ANNANDALE-ON-HUDSON, New York — Walking into the Hessel Art Museum at Bard College, an unremarkable contemporary building on a quiet Hudson Valley college campus in Upstate New York, I was unprepared for the dynamite lurking within.
During the opening remarks for the 2014 Whitney Biennial, Whitney Chief Curator Donna de Salvo said that this year’s exhibition was “one biennial with three distinct points of view,” so we’ve decided to explore that diversity in perspectives with three separate photo essays of the Biennial — one per floor and curator.
SOMERVILLE, Mass. — The idea that a work may be finished before some mysterious visual and artistic calculus is complete tends toward the blasphemous. And, with a shrug of the shoulders, to simply imply that you are finished with a painting or drawing when you don’t want to work on it anymore — well, that’s just how Amy Sillman rolls …
Last Sunday night, on the occasion of the exhibit Chagall: Love, War, and Exile on view at the Jewish Museum, Jordan Kantor a painter and professor at California College of the Arts, hosted an intimate panel looking back at painting since the death of Chagall to the present.
What’s the appeal of an art work on an iDevice? Is it because we are familiar with these by now ubiquitous tools and work created on them give the air of being “current”? If that’s the case, maybe we should change our thinking on the matter.