5/5/2023 0 Comments Amy sillman faux pasFeaturing a foreword by Lynne Tillman, Faux Pas is the first book to gather a significant selection of Sillman’s essays, reviews, and lectures, accompanied by drawings, most of which were made specially for the book.įaux Pas aims at revealing the coherence and originality of Sillman’s reflection as she addresses the possibilities of art today-favoring excess over good taste, wrestling over dandyism, forms over symbols-with as much critical sense as humor. Over the past decade, Sillman has also produced stimulating essays on the practice of art or the work of other artists: for example, reevaluating the work of the abstract expressionists with a queer eye elaborating on the role of awkwardness and the body in the artistic process and discussing the role and meanings of color and shape in depth. Since the 1970s, Amy Sillman-a beloved and key figure of the New York art scene-has developed a singular body of work that includes large-scale gestural paintings blending abstraction with representation, as well as zines and iPad animations. (After Eight Books, Paris, 2020, distributed by D.A.P.) Re-printed in Faux Pas: Selected Writings and Drawings, published by After 8 Books, Paris, 2020.Faux Pas: Selected Writings and Drawings By Amy Sillman, edited by Charlotte Houette, François Lancien-Guilberteau, and Benjamin Thorel. Bilder/Works 1998-2016, Ausstellungskatalog Pinakothek der Moderne, München/Studio Voltaire, London, Koenig Books, London, 2017. * Amy Sillman, “Why Amelie von Wulffen Is Funny”, In: Amelie von Wulffen. Sillman is represented by Gladstone Gallery, New York, and shows in Berlin at Capitain Petzel Galerie. Her work has been widely exhibited, amongst others at Arts Club of Chicago (2019) The Camden Arts Center, London (2018) Kunsthaus Bregenz (2015), as well as in group shows at the Lenbachhaus, Munich (2018) Whitney Museum of American Art, New York (2016) Tate Modern, London (2015) or MoMA, New York (2015). From 2015-2020, Sillman held a professorship at the Städelschule Frankfurt. Her paintings operate at the juncture between the abstract and the figurative. Complex layerings, often unfurled in long horizontal sequences, reflect on themes such as physicality, language and interrelativity, often with a manic and cartoonish effect. It will be introduced by artist Amy Sillman.Īmy Sillman (*1955, Detroit, US) is an artist living in New York City working with large-scale paintings and drawings, installations, animations and writing. On the occasion of the newly published Collected Comics 2011-2020 accompanying Amelie von Wulffen’s solo exhibition at KW Institute for Contemporary Art, we present a digital slide show of the English version of At the Cool Table (Am kühlen Tisch), 2014. The comics could be described as a means to displace the high and low, formal and informal, serious and funny, and as a shameless, comédie-humaine-style shedding of light to the backside of artistic production (or, the canvas) – to shame, pride, Schadenfreude, irritation, boredom and other petit bourgeois emotions. In her essay Why Amelie von Wulffen Is Funny, painter Amy Sillman mentions the Freudian “joke-work” as a method of displacing and putting something out of place and how she sees it at play in the relationship between Amelie von Wulffen’s comics and paintings. What if something from a desk drawer, like a dairy, or from another room, maybe the bedroom, staggers into the gallery? Can painting survive the crack-up of the personal?” * “The comics proposed a state of fight or flight, an otherness from painting.
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