CHRISTIAN BONNEFOI
SARAH CHARLESWORTH
LIZ DESCHENES
ROE ETHRIDGE
JUTTA KOETHER
DANIEL LEFCOURT
VALENTINA LIERNUR
JASON LOEBS
SCOTT LYALL
NICK MAUSS
CHARLES MAYTON
JOHN MILLER
OLIVIER MOSSET
SEAN PAUL
EILEEN QUINLAN
BLAKE RAYNE
CLEMENT RODZIELSKI
CHRISTOPH RUCKHÄBERLE
NORA SCHULTZ
AMY SILLMAN
REENA SPAULINGS
JOANNE TATHAM & TOM O’SULLIVAN
CHEYNEY THOMPSON

AMY SILLMAN

Born Detroit, MI, 1955

Lives and works in New York.

 

EDUCATION

1995 Bard College, NY, MFA, Elaine de Kooning Memorial Fellowship
1979 School of Visual Arts, NY, BFA
1975 New York University
1973 Beloit College

 

PUBLIC COLLECTIONS

Museum of Modern Art, New York

Tate Modern, London

The Metropolitan Museum of Art, New York

Whitney Museum, New York

Art Institute of Chicago, Chicago

Brooklyn Museum, New York

Baltimore Museum of Art

Boston Museum of Fine Arts

The Menil Collection, Houston

Museum Brandhorst, Munich

Fogg Art Museum, Harvard University, Cambridge, Massachussetts

Hirshhorn Museum and Sculpture Garden, Smithsonian Institute, Washington

Jack S. Blanton Museum, The University of Texas at Austin, Austin

KB Home Collection, Los Angeles

Milwaukee Art Museum, Milwaukee

Museo di Art Modern e Contemporanea di Trento e Roverto (MART), Trent

Museum of Fine Arts (MFA), Boston

National Gallery of Art, Washington

Norton Museum of Art, West Palm Beach

Saatchi Gallery, London

San Francisco Museum of Modern Art (SFMoMA), San Francisco

Weatherspoon Art Museum at the University of North Carolina, Greensboro

 

SOLO EXHIBITIONS

2017  ein Paar, Capitain Petzel, Berlin

After Metamorphoses, Albright-Knox Gallery, Buffalo, New York

After Metamorphoses, The Drawing Center, New York

2016 Amy Sillman, Portikus, Frankfurt, Germany

stuff change, Sikkema Jenkins & Co, New York

2015  Yes & No, KUB Arena, Kunsthaus Bregenz

2014 A Moveable Feast – Part XIV, Campoli Presti, Paris

2013 One Lump or Two – Solo Survey Exhibition, The Institute for Contemporary Arts Boston. Travelling to Aspen Art Museum, and Center for Curatorial Studies at Bard College, Annandale-on-Hudson, NY

either or and
, Thomas Dane gallery, London, UK

2012 A shape that stands up and listens: new drawings, Campoli Presti, Paris

Draft of a Voice-over for Split Screen Video Loop, Castillo/Corrales, Paris

2011 Thumbs Cinema, Capitain Petzel gallery, Berlin

2010 Transformer, Sikkema and Jenkins & Co., New York

2009 Zum Gegenstand, Carlier/Gebauer, Berlin

2008 Directions: Amy Sillman, Third Person Singular, The Hirshhorn Museum and Sculpture Garden, Washington DC, travels to The Tang Teaching Museum at Skidmore College, Saratoga Springs, New York

2007 New Etchings, Crown Point Gallery, San Francisco

Suitors & Strangers, Blaffer Gallery, The Art Museum of the University of Houston, Texas

Amy Sillman – Person, Place or Thing, Galerie Carlier Gebauer, Berlin

Ulrich Museum Of Art, Wichita State University, Kansas

2006 Sikkema Jenkins & Co., New York

2005 The Other One, Susanne Vielmetter LA Projects, Culver City, California

2004 ICA Ramp project, Institute of Contemporary Art, University of Pennsylvania, Philadelphia

2003 I am curious (yellow), Brent Sikkema, New York

2002 Letters from Texas, Jaffe-Friede Strauss Galleries, Hopkins Center, Dartmouth College Susanne Vielmetter Los Angeles Projects, Los Angeles

2001 Galleria Marabini, Bologna, Italy

2000 Brent Sikkema, New York

1998 Casey Kaplan, New York

1996 Casey Kaplan, New York

1994 Lipton Owens Company, New York

1991 Ledia Flam Gallery, New York

1988 Kanoria Centre for Art, Ahmedabad, India

 

SELECTED GROUP EXHIBITIONS

2017 Citings/Sightings, Lennon, Weinberg, Inc., New York

Inhabiting Words, Concord Center for the Visual Arts, Concord, Massachusetts

Gray Matters, Wexner Center for the Arts, Columbus, Ohio

Surfacing, James Harris Gallery, Seattle, Washington

99 Cents or Less, Museum of Contemporary Art Detroit, Detroit, Michigan

The Modern Meal: Sustenance through Ritual, Mildred Lane Kemper Art Museum, Washington University, St. Louis, Missouri

Drawing Island, The Journal Gallery, Brooklyn, New York    

Plages, Campoli Presti, Paris

2016 Tales of Ratiocination, Campoli Presti, London

Image Tech: Making Pictures in a Post Digital Age, TCNJ Art Gallery at The College of New Jersey, Ewing, NJ

Nice Weather, curated by David Salle, Skarstedt, New York, NY

The Collapse of the Mind’s Ordering System Leads to Some Rather Wanton Developments, curated by Alexi Kukuljevic, Tanya Leighton Gallery, Berlin

A Shape That Stands Up, Hammer Museum at Art + Practice, Los Angeles

2015 Painting 2.0: Expression In The Information Age, curated by Achim Hochdörfer, David Joselit with Manuela Ammer, Museum Brandhorst, Munich

The Pleasure of the Text, Campoli Presti, London

BACK TO THE FUTURE PART IIBrooklyn As The Painting Capital of the World, Life on Mars Gallery, Brooklyn

The Radiants, curated by United Brothers and Jacob King, Bortolami X Green Tea Gallery, New York

Sorry, I’ve been trying to teach a peacock how to act, curated by Pam Lins, Rachel Uffner Gallery, New York, NY

The Guston Effect, Steven Zevitas Gallery, Boston, MA

Dancing Foxes Benefit Exhibition, Bridget Donahue Gallery, New York, NY

America Is Hard To See, Whitney Museum of Art, New York, NY

Better than de Kooning, Villa Merkel, Galerien der Stadt Esslingen, Esslingen am Neckar, Germany

2014 Speaking Through Paint: Hans Hofmann’s Legacy Today, curated by Stacey Gershon and Deborah Goodman Davis, Lori Bookstein Fine Art, New York

NOW-ism: Abstraction Today
, Puzzuti Collection, Columbus, OH

Whitney Biennial, curated by Stuart Comer, Anthony Elms, and Michelle Grabner, WhitneyMuseum of American Art, New York

Eloge de la rareté,
Bibliothéque nationale de France, Paris, In Residence: Contemporary Artists at Dartmouth, Hood Museum of Art at Dartmouth College, Hanover, NH

The Forever Now: Painting in an Atemporal World, The Museum of Modern Art, New York

Live and Let Die, Modern Art, London

Variations: Conversations in and Around Abstract Painting, Los Angeles County Museum of Art

2013 Either or And, Thomas Dane gallery, London

Concrete Escort I, II, III, IV
, Guggenheim Museum, New York

Blues for Smoke, Whitney Museum, New York

Blues for Smoke, Wexner Center, Columbus, Ohio

Abstract Mash-Up II: A Group Exhibition, Crown Point Press, New York

Yes, No, Maybe: Artists Working at Crown Point Press, National Gallery of Art, Washington D.C.

2012  It’s Always Sunny on the Inside,  Anton Kern Gallery, New York, NY.

Painting in Space, Luhring Augustine, New York, NY.

Blues for Smoke, The Museum of Contemporary Art (MOCA), Los Angeles, CA, traveled to: Whitney Museum of American Art, New York, NY, Wexner Center for the Arts, MN,

Contemporary Painting, 1960 to the Present: Selections fo the SFMOMA Collection, San Francisco Museum of Modern Art (SFMOMA), San Francisco, CA.

Pinky’s Rule with Charles Berstein, Sikkema Jenkins & Co, Berlin

2011 Creating a New Century: Contemporary Art from the Dicke Collection, Dayton Art Institute (DAI), Dayton, OH.

A Painting Show,Harris Lieberman Gallery, New York, NY.

Amy Sillman & Charles Bernstein: Duplexities, Elizabeth Murray Art Wall at Bowery Arts + Science, New York, NY.

The Air We Breathe, San Francisco Museum of Modern Art (SFMOMA), San Francisco, CA.

Dance/Draw, Institute of Contemporary Art/Boston (ICA), Boston, MA.

2010 Summer Group Show, Suzanne Vielmetter Projects, Los Angeles

Team SHaG, Clough-Hanson Gallery, Rhodes College, Memphis, TN At Home / Not

At Home: Works from the Collection of Martin and Rebecca Eisenberg, Center for Curatorial Studies and Art in Contemporary Culture (CCS), Bard College, Annandale-on- Hudson, NY

2009 Abstract America: New Painting and Sculpture, Saatchi Gallery, London

Oranges and Sardines, Hammer Museum at UCLA, Los Angeles

Prospect.1, New Orleans

Blue, James Graham & Sons, New York

The Ballad that Becomes an Anthem, ACME, Los Angeles

Cave Painting, PSM, Berlin, Germany

Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings

Collection, MoMA, New York

2008 Order. Desire. Light. : An Exhibition of Contemporary Drawings, Irish Museum of Modern Art, Dublin

Color Climax, James Graham & Sons, New York

From One O to the Other, Orchard Gallery, New York

Red Dot Contemporary, West Palm Beach, Florida

2007 In Context, Collage + Abstraction, Pavel Zoubok Gallery, New York

Poets on Painters, Ulrich Museum of Art, Wichita State University, Kansas

BYOF, Performa07, New York

2006 Gifts Go in One Direction, Apexart, New York

The Good, The Bad and the Ugly, New Langton Arts, San Francisco

New Now Next – The Contemporary Blanton Jack S. Blanton Museum of Art, Austin, TX

The Triumph of Painting – Part 4, The Saatchi Gallery, London

Landscape Confection
, Orange County Museum of Art, Newport Beach

Frontiers – Collecting the Art of Our Time, Worcester Art Museum, Worcester, MA

2005 Cut, Susanne Vielmetter LA Projects, Culver City, California

Post Modern, Greene Naftali, New York

Landscape Confection, Contemporary Arts Museum Houston, Houston, TX

2004 Dana Schutz, Amy Sillman, Kara Walker, Brent Sikkema, New York

Whitney Biennial, The Whitney Museum of American Art, New York

Open House: Working in Brooklyn, Brooklyn Museum, Brooklyn

Wonderland, Judy Ann Goldman Fine Art, Boston

Affect, Philip and Muriel Berman Museum of Art, Collegeville, PA

True Stories, Johnson County Community College Gallery of Art, Overland Park, Kansas

Beginning Here: 101 Ways, SVA Visual Arts Gallery, New York

200 Drawings: Annie Herron and Barry Blinderman Select from the Pierogi Flatfile Illinois State University, Normal, Il

2003 Comic Release: Negotiating Identity for a New Generation, Carnegie Mellon University, Pittsburgh

New Orleans Contemporary Arts Center, New Orleans University of North Texas, Denton, Western Washington

University, Bellingham, WA Armory Center for the Arts, Old Pasadena, California

Rendered, Sara Meltzer Gallery, New York

2002 Officina America ReteEmiliaRomagna, Gallaria d’Arte Moderna, Bologna, Italy

Chiostri di San Domenico, Imola, Italy

Galleria Comunale ex Pescheria, Via Pescheria, Cesena, Italy

Palazzo dell’ Arengo, Rimini

A Long Drawing, Brent Sikkema, New York

2001 Six Contemporary Artists, The Clifford Gallery, Colgate University, Hamilton, NY

I’m Not Sure: Constructing Identity at the Turn of the Century, Susquehanna Art Museum, Harrisburg, PA

718 Brooklyn, Palm Beach Institute for Contemporary Art, Lake Worth, Florida

Works on Paper, Tibor De Nagy, New York

The Approximative, Galerie Ghislaine Hussenot, Paris

Passing Through, Shaqab College of Design Arts, Doha, Qatar

Expanding Tradition, Contemporary works influenced by Indian miniatures, Deutsche Bank Gallery, New York

Invitational Exhibition of Painting & Sculpture, American Academy, New York

Pixerina Witcherina, University Gallery, Illinois State University, Normal, Il

2000 Blurry Lines, John Michael Kohler Arts Center, Sheboyan, WI

Painting Generation: 1920 –2000, Kagan Martos Gallery, New York

Amy Sillman, Charline von Heyl, Joanne Greenbaum, James Van Damme Gallery, Brussels

Greater New York, P.S.1, New York

Group Show, Brent Sikkema, New York

1999 Works on Paper: Mentor, Sillman, Chagoya, Zolla Lieberman Gallery, Chicago

The Stroke (selection by Kerry James Marshall), Exit Art, New York

Parallel Lines: Mix and Match, Karen McCready Fine Arts, New York

Compliment (collaboration with Jef Scharf), The Educational Alliance, New York

New etchings and monotypes, Quartet Editions, New York, NY

Cosmogram, Galleria Marabini, Bologna

I’m Not Here: Constructing Identity at the Turn of the Century, Susquehanna Art Museum, Harrisburg, PA

Turning the Century, Bridgewater/Lustberg & Blumenfeld Gallery, New York

Paper View
, Fordham University, New York

Drawing Into Paint, Alfred University, Fosdick-Nelson Gallery, New York

Drawing in the Present Tense, Parsons School of Design, New York

Brooklyn, New Work, Cincinnati Center for Contemporary Art, Cincinnati

1998 The New Surrealism (with Team SHaG, collaborative painting with David Humphrey and Elliott Green), Pamela Auchincloss Project Space, New York

Cluster Bomb, Morrison-Judd, London

Personal Touch, Art in General, New York

Commitment to Image, University of North Texas, Denton, Texas

From Here to Eternity: Painting in the 1990’s, Max Protetch Gallery ,New York

Pop Surrealism (with Team SHaG), The Aldrich Museum, Ridgefield, CT

Codex USA
, Entwistle Gallery, London

Drawings, Graham Modern Gallery, New York

The Secret Charts, Jonctions Festival, Brussels (collaboration with filmmaker Peggy Ahwesh)

1997 Drawings and Paintings, Brent Sikkema/Wooster Gardens, New York

Art and Provocation: Images from Rebels, Boulder Museum of Contemporary Art, Boulder, CO

Art on Paper, The Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC

Current Undercurrents: Working in Brooklyn, The Brooklyn Museum of Art, Brooklyn

Drawers (Pierogi 2000 flat files), Gasworks, London

Distraction, TBA Exhibition Space, Chicago

Irredeemable Skeletons, Sillman + Smith, London

Team SHaG (collaborative paintings with David Humphrey and Elliot Green), Postmasters Gallery, NY

Nu-Glu, Joseph Hellman, New York

1996 Imaginary Beings, Exit Art, New York

1995 Summer Group Show, Stefano Basilico , New York

Wheel of Fortune, Lombard Fried Gallery, New York

Imaginary Beings, Exit Art, New York

International Graphics Biennial, Gyor, Hungary

Invitational Exhibition, Anina Nosei, New York

Obsession, Chassie Post Gallery, New York

1994 Arabesque, PPOW, New York

Out West and Back East New Work from LA and NY, Santa Monica Museum, Los Angeles

1993 Figure as Fiction, Cincinnati Center for Contemporary Art, Cincinnati

Paintings, Trial Balloon Gallery, New York

Mating Instinct, Penine Hart Gallery, New York

Invitational Exhibition, Stux Gallery, New York

Paintings, Salvatore Ala Gallery, New York

1920, Exit Art, New York

1992 Seven Rooms/Seven Curators (with four walls), P.S.1., Long Island City

1991 Amy Sillman and Terry Adkins, Dart Gallery, Chicago

Ornament: Ho Hum All Ye Faithful, John Post Lee Gallery, New York

The Painting Project, Part 1, Four Walls, Brooklyn, NY

New Generations: New York,
Carnegie Mellon Art Center, Pittsburgh

Lyric: Uses of beauty at the end of the century, White Columns Gallery, New York

1989 Amy Sillman/Dina Ghen, Ledis Flam Gallery, New York

Climate ‘89, E.M. Donahue Gallery, New York

1988 Real Democracy, Four Walls at White Columns, New York

1987 Artists Books, Museum of Contemporary Art, Chicago, IL

1986 Selections 34, The Drawing Center, New York

1984 On View: Michael Byron, Lisa Hoke, Amy Sillman, The New Museum, New York

1982 Visionary Landscapes, PS 122 Gallery, New York

AWARDS & FELLOWSHIPS

2014 Resident American Academy Rome, Italy

2011 Honorary Doctorate in Fine Arts, Montserrat College of Art, Beverly, MA

2009 The American Academy in Berlin: Berlin Prize in Arts and Letters, Guna S. Mundheim Fellow in the Visual Arts, Berlin

2001 John Simon Guggenheim Memorial Foundation Fellowship in Painting, New York

1999 Pollock-Krasner Foundation Fellowship, New York

Civitella Ranieri Foundation Fellowship/Residency, Umbria, Italy

Joan Mitchell Foundation Fellowship

Louis Comfort Tiffany Foundation Award

1995 NEA Fellowship in Painting

1994 NYSCA Project Residencies, Painting Grant, Hillwood Art Museum, Long Island University

1992 Macdowell Residence, Peterborough, NH

1989 Art Matters Inc., Painting Grant

Yaddo Residence, Saratoga Springs, NY

1988 Kanoria Centre for Art, Artist in Residence, Ahmedabad, India

1985 New York Foundation for the Arts, Painting Grant, New York

1984 Yaddo Residence, Saratoga Springs, NY

1982 New Jersey State Council for the Arts, Painting Grant, NJ

1981 Ossabaw Island Colony, GA

 

SELECTED WRITINGS AND PUBLICATIONS

2012  « The Art of Education – Amy Sillman. » Interview by Stephen Westfall. Modern Painters Apr. 2012: 58-59. 2011

Amy Sillman, ‘Feminism!’, Texte Zur Kunst, 22 Jahrgang, Heft 84

2010 Amy Sillman, ‘Parts and Labour’, Frieze Issue 133, September

2009 ‘Amy Sillman’s Top Tens’, Artforum, December Issue

2008 ‘Ellen Berkenblit,’ essay reprinted in catalogue published by Anton Kern, NYC

2007 ‘Amy Sillman and Gregg Bordowitz’, ART Press, NYC

‘Passages: Elizabeth Murray,’ Artforum

‘Ellen Berkenblit,’ article for BOMB magazine

2006 ‘Amy Sillman – Works on Paper’, published by Gregory R. Miller, NYC; text by Wayne Koestenbaum

‘A Phrase Guide to the Spring Art Season,’ Art in America, Pen & Ink column

Interview with Cristina Martinez, Index magazine

2004 ‘How To Look At Nicole Eisenman,’ essay for catalog published by Leo Koenig

Visiting Artist, artist’s book, Regency Arts Press, NYC

Interview with Dana Schutz, North Drive Press magazine

2003 Interview with Cecilia Dougherty, Swingset magazine

Interview with Peggy Ahwesh, Index magazine

 

SELECTED BIBLIOGRAPHY

2016 “Amy Sillman.” New Yorker 29 February

Ballard, Thea. “Reviews in Brief – New York: Amy Sillman.” Modern Painters, April

Hinrichsen, Jens. “Gebt ihr das Rosa!” Monopol January

Hochdörfer, Achim, David Joselit, and Manuela Ammer, eds. “Painting 2.0: Expression In the Information Age”.

Indrisek, Scott. “5 Must-See Gallery Shows in New York: Heidi Hahn, Amy Sillman, and More.” Blouin Artinfo 16 February

Liebman, Kate. “Amy Sillman ‘Stuff Change’.” Brooklyn Rail March

Mac Adam, Alfred. “Amy Sillman at Sikkema Jenkins & Co.” ArtNews 3 March

McLean-Ferris, Laura. “Amy Sillman ‘Stuff Change’.” ArtReview April

Sigler, Jeremy. “Amy Sillman’s Love for the Scumble.” Tablet 9 March

Sillman, Amy. “Color as Material.” Painting Beyond Itself/The Medium in the Post-Medium Condition, Ed. Isabelle Graw and Ewa Lajer- Burcharth. Berlin: Sternberg

Smith, Roberta. “Amy Sillman ‘Stuff Change’.” New York Times 26 February

2015 Hudson, Suzanne. “Painting Now”. London: Thames & Hudson

Malbert, Roger. “Drawing People: The Human Figure in Contemporary Art”. London: Thames & Hudson

Miller, Dana, and Adam D. Weinberg. Whitney Museum of American Art: Handbook of the Collection. New York City: Whitney Museum of American Art

Myles, Eileen. “Eleven Favorites.” The Paris Review 214

Sillman, Amy. « House of Frankenthaler. » « The Heroine Paint »: After Frankenthaler. Gagosian Gallery

Sillman, Amy. « The Uncertain Certainty: States of the Art of Painting: Amy Sillman. » Interview by Robert Enright. November

Sillman, Amy. “Shit happens.” Freize

Tillman, Lynne. “Weird Fucks”

2014 Bradley, Paige K. “Amy Sillman: The Labour of Painting.”

The White Review, 4 Mar. Web:http://www.thewhitereview.org/art/amy-sillman

Comer, Stuart, Anthony Elms, and Michelle Grabner Whitney Biennial 2014. New York: Whitney Museum of American Art

Flegelman, Hannah. “Bold Strokes – Amy Sillman: one lump or tow– Its Namesake Artist’s First Museum Survey – Brings New Dimension to the Aspen Art Museum.” Aspen Midwinter-Spring

Godfrey, Mark, “Statements of Intent: The art of Jacqueline Humphreys, Laura Owens, Amy Sillman and Charline von Heyl”, Artforum, May

Pollack, Maika, “Amy Sillman: Art meets intimacy at Hessel Museum of Art, Bard College, Gallerist, 20 August

Rosenberg, Karen, Psychodrama and Meta-Works, New York Times, July 3

Diehl, Carol, “Like it or Lump it: Amy Sillman” 2013 “Amy Sillman: either or and”, Wall Street International Eddy Frankel, Time Out London, September

Comer, Martin, Time Out London, September R. H. Quaytman, Bomb Magazine, September

Cameron, Martin, `Amy Sillman: One lump or two’, Artforum, September

Molesworth, Helen, ‘Amy Sillman: One Lump or Two’, Exhibition Catalogue, Institute for Contemporary Art, Boston, USA

Owen, Jack, ‘Painter Sillman to demystify functions of color, perception’, The Miscellany News, April 10

Saunders, Matt. ‘Amy Sillman’ Artforum March, VOL.52, NO 7

2013 Loos, Ted. “Blobs and Slashes, Interrupted by Forms.” New York Times, 29 Sept.

2012 Caranicas, Devon, ‘Thumb Cinema’, Berlin Art Journal, July

Bell, Kirsty. “Amy Sillman – Capitain Petzel Berlin.” Rev. of Amy Sillman: Thumb Cinema. Frieze d/e Spring 2012: 112-13.

2010 Tomeo, Micheal, ‘Break Up Sex’, Daily Serving, April Rosenberg, Karen, ‘Boldness come with Manifesto’, The New York Times, May 10th

2009 Nelson, Maggie. ‘Oranges and Sardines,’ Artforum, February

2008 Juncosa, Enrique. ‘Order. Desire. Light,’ An Exhibition of Contemporary Drawings,’ c. IMMA Dublin (cat)

Abstract America Exhibition Catalogue, Saatchi Gallery

Weil, Rex. ‘Amy Sillman’, ARTnews, September 2008, p. 155

Rich, Sarah K. ‘Amy Sillman,’ Artforum, September 2008, p. 453

O’Sullivan, Michael.  »Third Person’: The Thrill is Gone’. Washington Post Weekend, March 2008

Green, Tyler. ‘The Critical Guide to Amy Sillman’s New York career’. ARTSJOURNAL weblog. April

Green, Tyler. ‘Amy Sillman at the Hirshhorn’. ARTSJOURNAL weblog. April

Yablonsky, Linda. ‘Fragments of Imagination’. Departures Magazine. March/April

Butler, Sharon L. ‘Lame review of the week: O’Sullivan reviews Sillman at the Hirshhorn’.Two Coats of Paint Blog. March

Plages

01 Feb, 2017-03 Mar, 2017

Campoli Presti, Paris

Plages

Monika Baer
Marc Camille Chaimowicz
Sarah Charlesworth
Isabelle Cornaro
Liz Deschenes
Willem de Rooij
Nathalie du Pasquier
Louise Lawler
Nick Mauss
Marisa Merz
Amy Sillman
Cheyney Thompson

17 February – 18 March
Campoli Presti, London

2 February – 4 March
Campoli Presti, Paris

Plages brings together artists that meditate on the place of the subject inthe marking of aspace.The works exploredifferent vision instruments through which we approach everyday objects, and therefore our distance towards them, as well as the opposition between private space and exhibition space throughpremeditated patterns that discuss the idea of functionality.Besidesits usual translation asbeach, the French termPlageisabroadnotionthatindicatesthe perimeter of a space, a time lapse or the latitude between two elements -in this casepublic/private,home/business, decorative/functional.

By pointing out the history of object production and everyday material culture, artistssuch asSarah Charlesworth, Monika Baer, Nathalie du Pasquier, Amy Sillman, Louise Lawler, Marisa Merz and Isabelle Cornaro reframe overlooked, ordinary objects and question their purpose as consumption, design, or admiration while settinga new distance between subject and object, foreground and background, as in the site-specific, reflective work of Liz Deschenes. The displacement of domestic objects often takesthe form of a renewed artistic appropriation.

The continuity between adomestic space and the exhibition space can also be addressed through the emancipation of design from taste limitations and functional demands. By radicalizing design-based techniques, the work of artists like Nick Mauss, Marc Camille Chaimowicz, and Willem de Rooij can channel multiple painting traditions and reveal collaborative processes. Cheyney Thompson’sinterpretation and intentional distortion of reproductive techniques can take the shape of repetitive patterns that delineate the exhibition area ina suite of canvases.

For further information or images please contact cora@campolipresti.com

Tales of Ratiocination

23 Feb, 2016-02 Apr, 2016

Campoli Presti, London

Martin Barré
Christian Bonnefoi
André Cadere
René Daniëls
Sheila Hicks
Jacqueline Humphries
Barbara Kasten
Charles Mayton
Michel Parmentier
Blake Rayne
Carol Rama
Amy Sillman
Cheyney Thompson

Tales of Ratiocination
23 February – 2 April 2016
Campoli Presti, London

Tales of Ratiocination focuses on the delineation of a chain of operations, a subtle reasoning that establishes a set process for the making of artworks. For Edgar Allan Poe, ‘ratiocination’ meant the use of analytical powers to solve mysteries, using different kinds of information to explore, question and sometimes satirize the certainty of a deductive method. The artists in the exhibition share a common concern with developing compositional or even anti-compositional strategies that explore the role of the artist and the historically set rules of artistic agency.

Martin Barré, André Cadere and Michel Parmentier deliberately introduce an anomaly into their method to destroy its underlying logic and to question the artist’s gesture. In 1977, Martin Barré stated that painting was a game between the rule and the subversion of the rule. His diagonal markings reveal the interdependence of the canvases, diverting the calculation of a geometric order. The striped pattern of André Cadere‘s Barres de bois rond, (round bars of wood) follows a distinctive sequence. Each colour succeeds the previous one in a constant mathematical permutation that includes a systematic error. The diameter of the wooden segment equals its length and, in each case, the colour of one segment is represented by a number. The segments are set together in order resulting from a permutation which includes random shifts – and an error results from the inversion of two segments in the sequence. In 1983 Michel Parmentier reiterated his 1965 horizontal stripe folding technique, changing its colour arbitrarily each year for three years, so as to detach himself from a personal preference and to objectify the nature of colour.

Correspondingly Cheyney Thompson’s Stochastic Process Paintings combine algorithms employed by financial theorists to predict market patterns with colours taken from Albert Munsell’s 19th century three dimensional colour system. This succession of random, scientifically dubious steps, provides a system that registers the repetition of an inexact rule, commenting on the subject’s ability to enunciate it.

The intentional reiteration of a pattern, often applied in a playful fashion, operates as a means to speculate around the stability of a method. The use of motifs such as the bowtie in René Daniëls‘ and Charles Mayton‘s work reflects their interest in painting as an instrument of encoded meaning, introducing different mechanisms without resulting in closed iconographic interpretations. Carol Rama describes the repeated use of strips of rubber as joyful, following her unceasing commitment to adding everyday life materials into her works. Sheila Hicks‘ playful yet reverential subversions of weaving traditions result in laborious abstract compositions.

Christian Bonnefoi finds the strategy of his paintings in the physical threads moving through his paintings. The minimal gaps and transparencies of the material lead to his attempted direction, usually alluding to the figure of the labyrinth to describe the eternal back and forth between his intentional manipulations and the visual end. Describing a comparable continuous process, Jacqueline Humphries has said, “I start a painting by finishing it, then may proceed to unfinish it, make holes in it or undo it in various ways, as a kind of escape from that finitude.”

Amy Sillman‘s layered abstractions are based on the tension between an affective and a formal method, negotiating between the improvisatory and the structural aspects of thinking itself. Blake Rayne’s Wild Country series equally explore the properties of a fluctuating movement, as its wandering line moves across the surface of a layered background, in an intuitive movement that recalls automatic writing.

Barbara Kasten designates the studio as an environment of transitory structures that exist only to be photographed. Following the compositional vocabulary of constructivism, Kasten transfers rules from other artistic fields into photography, expanding its limits.

For further information or visuals please contact cora@campolipresti.com

The Pleasure of the Text

23 Apr, 2015-23 May, 2015

Campoli Presti, London

The Pleasure of the Text
Kerstin Brätsch, Lucy Dodd, Michaela Eichwald, Daiga Grantina, Rachel Harrison, Jutta Koether, Amy Sillman, Joan Snyder
23 April – 23 May 2015
Campoli Presti, London

Campoli Presti is pleased to present the group exhibition The Pleasure of the Text.

The Pleasure of the Text focuses on the constant flow of negotiations between predefined historical notions of artistic practices and the personal way in which they are appropriated and read. The exhibition brings together artists that question the labeling of their works and re-elaborate them on their own terms, in an often unprejudiced and receptive manner. Taking an imprudent approach to their medium and its materiality, the artists engage in an active definition of their practice that emancipates itself from theoretical expectations.

The exhibition takes its title from Roland Barthes’ 1973 book of the same name, in which the pleasure of reading exists in a derivative path, when our body follows its own ideas and destabilizes its historical, cultural and psychological assumptions. « Text means tissue, but whereas hitherto we have always taken this tissue as a product, a ready-made veil, behind which lies more or less hidden, meaning (truth), we are now emphasizing, in the tissue, the generative idea that the text is made, is worked out in a perpetual interweaving: lost in this tissue – this texture – the subject unmakes himself ».

In this re-articulation of established categories, Kerstin Brätsch (Hamburg, 1979) names one of her series Corporate Abstractions to indicate the ambivalence of artistic autonomy and marketing production strategies. Lucy Dodd (New York, 1982), uses organic and unconventional pigment and materials to create paintings that refer to an ongoing investigation into a realm of ritual and mythology. Michaela Eichwald (Cologne, 1967) subverts the historical legacy in her paintings with physically engaged autobiographical traces. Daiga Grantina (Riga, 1985) situates her works in a system of semiotics, where one can think about how words come into contact with materiality, in a general interrogation of the definition of figuration. Rachel Harrison (1966, New York) develops an eclectic sculptural language that brings together the seemingly divergent categories of minimalism and pop. Jutta Koether (Cologne, 1958) re-appropriates classical works made by male artists and questions painting’s notions of quality by playing with the formal implications of ‘bad painting’. Amy Sillman‘s (Chicago, 1956) open-ended investigations, by the form of collage, drawings, paintings, or animations disrespect the binary between abstraction and figuration. Joan Snyder (New York, 1940) detaches the use of the grid from minimalist theories and embraces narrative in abstraction.

For further information or images please contact cora@campolipresti.com

A Moveable Feast – Part XIV

23 Oct, 2014-08 Nov, 2014

Campoli Presti, Paris

A Moveable Feast – Part XIV
Amy Sillman
23 October – 8 November 2014
Campoli Presti, Paris

Campoli Presti is pleased to present the 14th part of its ongoing exhibition A Moveable Feast with a presentation of new works and a wall drawing by Amy Sillman.

The pieces in the exhibition unfold as a test strip in which a non-linear sequence of events, forms, possibilities, options, transparencies, re-workings and rubbings is revealed in a continuum of images.
A selection of drawings made by hand, with paper and chalk, are first photographed, then ink-jet printed on canvas and later painted or drawn on top of with ink and gouache. The logic of collage is thus continued in a series of actions that combine one layer with another. This continues Sillman’s interest in open-ended procedures in which the material contradicts itself or reveals new properties in an ongoing course of interventions.

Presented as a sequence, the works allow the viewer the ability to see them as a comic strip, or test trip of things-before-the-things, ideas, plans, or preliminary studies. They are made with simple water-based materials or inks, which evoke their materiality as notebook pages while having a tactile, painterly surface.

Being both influenced by her interest in avant-garde animation, particularly Robert Breer’s films which propose a comic, manic type of non-narrative structure, as well as her use of ipad/iphone apps to produce her own animated drawings, the canvases focus on the elasticity of images and their ability to shift from sculpture, drawing, and painting to digital traces.

On the opposite wall of the canvases, a charcoal drawing proposes a reading key to the works with language cribbed from Freud’s 1920’s paper “Beyond the pleasure principle”, complicating the relationship between object, subject, and the abject.

Amy Sillman recently had a solo survey exhibition at the ICA Boston, travelling to the Aspen Art Museum and CCS Bard Hessel Museum of Art with an accompanying monograph. Past solo exhibitions were held at Hirshhorn Museum and Sculpture Garden, Washington, DC; at the Tang Museum, at Skidmore College, Saratoga Springs, New York; and at the Blaffer Gallery, University of Houston Art Museum, Houston, TX. Her work has been widely exhibited and is included in numerous public collections, including The Museum of Modern Art in New York; The Art Institute of Chicago; the Metropolitan Museum of Art; the San Francisco Museum of Modern Art, and the Whitney Museum of American Art.

A Shape That Listens: New Drawings

18 Oct, 2012-15 Dec, 2012

Campoli Presti, Paris

Amy Sillman
A shape that listens: new drawings
18 October – 15 December 2012
Campoli Presti Paris

« Deep inside his pictures, a shape stands up and listens » Jayne Anne Phillips, Lark and Termite, Alfred A. Knopf, 2009

Campoli Presti is pleased to announce A Shape that Listens: new drawings, Amy Sillman’s first solo exhibition at the gallery. The show features fourteen new drawings along with one painting. Both mediums follow an interrelated methodology in which drawing allows to open an area of structural space in painting without following a set order.

Sillman’s drawings are open-ended investigations that use the straightforward materiality of form: shape, line, silhouette, cut, stain, color, tone, fragment. While this practice offers the pleasures of the formal language, she works at the same time with a psychological procedure of constant contradiction, building, destroying and rebuilding again in a restless ongoing course of action. She deploys an anxiously active set of moves against a simple immediate mark or form—something easy against something hard, something unedited and impulsive against something complicated. Sillman works until the material speaks to itself, contradicts itself, suggests something it did not know, goes against its own grain.

She paints and draws using innumerable layers, none of which the viewer sees in the final one, but which can be sensed from their active surface. As A. Ellegood suggests, figure becomes so dominant that paradoxically becomes invisible. It is the sense of presence of the shape that builds her approach towards abstraction rather than its exclusion from representation.

“Deep inside his pictures, a shape stands up and listens”. These words by Jayne Anne Phillips closely relate to Sillman’s process of negotiating continuing changes until finding something that emerges from the formal into the flawed and human, building a relationship between that form and the artist’s hand, which oddly listens.

Recent solo exhibitions by Amy Sillman were held at Hirshhorn Museum and Sculpture Garden, Washington, DC; at the Tang Museum, at Skidmore College, Saratoga Springs, New York; and at the Blaffer Gallery, University of Houston Art Museum, Houston, TX. Group exhibitions include, among others, Abstract America: New Painting and Sculpture at Saatchi Gallery, London; Compass in Hand at MoMA, New York; Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Charline von Heyl, and Christopher Wool at UCLA Hammer Museum, Los Angeles and the 2004 Whitney Biennial at the Whitney Museum of American Art, New York, NY.