Amy Sillman Exhibited at The Saatchi Gallery

Amy Sillman
Ich Auch


Oil on canvas

230 x 215 cm
Amy Sillman
Cliff 1


Oil on canvas

183 x 152 cm
“Painting is a physical thinking process to continue an interior dialogue,” Amy Sillman states, “a way to engage in a kind of internal discourse, or sub-linguistic mumbling…”. Amy Sillman’s canvases offer glimpses into a subliminal world. Strangely intimate, her abstractions negotiate a space of both ideas and feelings, inflected with an emotional empathy. “In Cliff 1, a family of mallards is camouflaged between a field of daisies and a bright orange shape that is beginning to dissolve, like a jet’s vapor trail. Striped drapery and a painterly tangle of pastel pinks and baby blues add to the atmosphere of cheery beginnings.” David Pagel. Her paint techniques mirror the convergence of unconscious thoughts: rock rendered with the chalky texture of rubbings, sunset as violent deep orange slashes, birds and flowers with cartoon folly. Amy Sillman paints with a sense of intuitive immediacy, attempting to purposefully broach the fragmented territory of affect, of embarrassment and awkwardness, conveying a sense of experimentation and discovery within her pensive gestures.
Amy Sillman
Cliff 2


Oil on canvas

183 x 152 cm
Amy Sillman’s work is highly intuitive; her rich, colourful paintings flow with a stream of conscious expression. In her canvases, forms effuse in disjointed rhythm, colour has the weightlessness of pure light. The delight in Sillman’s work is in the complexity of her
application. “In Cliff 2 the bright orange polygon in the middle of the painting rhymes beautifully with an angled slab of black, some blue cartoon clouds, a messy expanse of loosely painted flowers and a swatch of flowery fabric. Two pairs of long legs, which belong in a kid’s stick-figure drawing of a couple of ducks, descend from the picture’s top edge, suggesting even goofier goings-on beyond its border.” David Pagel. In her study of how to express the totality of something, she becomes absorbed in the semiotics of painterly language itself: thick impasto mixes readily with sly dabs and drizzles, radiant hues and hurried gestures appear in their own space and time. Amy Sillman’s composition suggests private thought that is simultaneously whimsical and brutal.
Amy Sillman
The New Land


Oil on canvas

198 x 167.5 cm
Reminiscent of cubist painting, Amy Sillman’s The New Land creates a landscape of fragments, where shapes and colours converge as independent forms, never quite resolving as a whole.
Sillman addresses her canvas with a painter’s heart-felt affection, each gesture becomes a consuming sentiment of expressive absorption. Set against the dalliance of a chalky pink ground, elongated stripes of green congregate with animate integrity, vibrating against patches of electric orange, and off set by contradictory suggestions of spindly flowers and figures. As layers overlap and forms collide, Sillman’s painting descends into a wonder of action and associative reference where bodily experience, memory and perception tangle together.
Amy Sillman
My Pirate


Oil on canvas

198 x 167.5 cm
Part of the strength of Amy Sillman’s paintings derives from their conscious use of awkwardness as an aspect of form. Unfolding as a series of spontaneous developments, My Pirate captures the procession of thought, mirroring the meander of the subconscious. Through this free-form approach to painting, Sillman develops a painterly dimension where landscapes emerge as emotive terrains. Formalist structures of lines, shape, color, and shading become signifiers - pensive, blissful, menacing, or frail - each lending their qualities to almost recognisable forms. Attenuate lines become sunbeams and grass, splotches of colour are read as flowers and lakes. Within her complex abstractions, Sillman offers a sense of self: a deeply intimate position in space, time and mind, reflective of a transient perception of beauty and imagination.
Amy Sillman


Oil on canvas

231 x 213.4 cm
In Bed, Amy Sillman’s intuitive process is used to convey both loose narrative and psychological uncertainty. With her sumptuous pastel tones tinged with a dirty, dusky pallor, Sillman’s composition doubles as abstract painting and the ambient architecture of a room. Overlaying her swiping brush marks with delicate lines and precise hard edged shapes, Sillman illustrates two figures huddled in a bed, creepily embraced by a third ghostly presence hovering above. Bed’s pink tones and ephemeral description offer a distinctly feminine sight to sexuality, conveying an intimacy as a totality of self: where carnality and emotional fragility are entwined as apprehensive gesture.
Amy Sillman


Oil on canvas

115 x 130 cm
In Window, Sillman’s fragmented imagery is exchanged for pure abstraction. Using a limited palette of blues and oranges, Sillman’s blocky planes of colour and thick line delineations create a paradoxical sense of space. As layers of gestural brush marks record her creative process through painterly illusion, the composition suggests an organic architecture, evoking an expanse of internalised psychological perception. Sillman’s highly sensitive style captivates with a disarming resonance, negotiating the sublime traditions of abstract painting with a rarefied and momentous confidence.

Amy Sillman's Biography

Amy Sillman
Born in 1966, in Detroit Michagan
Lives and works in New York


Amy Sillman:Transformer(or, how many lightbulbs does it take to change a painting?), Sikkema Jenkins & Co., New York, NY

Amy Sillman: Third Person Singular,Hirshhorn Museum and Sculpture Garden, Washington, DC

Amy Sillman: New Color Etchings, Crown Point Press, San Francisco, CA
Amy Sillman - Person, Place or Thing Galerie Carlier
Gebauer, Berlin
Ulrich Museum of Art, Wichita State University, Kansas
Amy Sillman: Suitors & Strangers, Blaffer Gallery, the Art Museum of the University of Houston, Houston, TX

Amy Sillman, Sikkema Jenkins & Co., New York, NY

The Other One, Susanne Vielmetter LA Projects, Culver City, CA

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

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

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

Galleria Marabini, Bologna, Italy

Brent Sikkema, New York, NY

Casey Kaplan, New York, NY

Casey Kaplan, New York, NY

Lipton Owens Company, New York, NY

Ledia Flam Gallery, New York, NY

Kanoria Centre for Art, Ahmedabad, India


Team SHaG,’ Clough-Hanson Gallery, Rhodes College,
Memphis, TN. Jan. 22 – Feb. 17, At Home / Not At Home: Works from the Collection of Martin and
Rebecca Eisenberg,Center for Curatorial Studies and Art in
Contemporary Cul ture (CCS), Bard College, Annandale-on-
Hudson, NY.

Abstract America: New Painting and Sculpture,Saatchi Gallery,
London, UK.
Blue,James Graham & Sons, New York, NY.
The Ballad that Becomes an Anthem,’ ACME, Los Angeles, CA.
Cave Painting, PSM, Berlin, Germany. June 3 – July 18, 2009
Compass in Hand: Selections from The Judith Rothschild
Foundation Contemporary Drawings Collection,’ MoMA, New York,
Landscape Revisited, curated by Dodie Kazanjian, Park Avenue
Armory, New York, NY.

Oranges and Sardines,Hammer Museum at UCLA, LA, CA,
Prospect.1 New Orleans, November 1st
Order. Desire. Light. : An Exhibition of Contemporary Drawings,’
Irish Museum of Modern Art, Dublin
Color Climax, James Graham & Sons, New York, NY
Red Dot Contemporary, West Palm Beach FL,
From One O to the Other, Orchard Gallery, NY, NY

Poets on Painters, Ulrich Museum of Art, Wichita State University, KS
The Line of Time and the Plane of Now Harris Lieberman, New York, NY
The Good, the Bad, and the Ugly New Langton Arts, San Francisco, CA

Gifts Go in One Direction, Apexart, New York, NY
New Now Next - The Contemporary Blanton Jack S. Blanton Museum of Art, Austin, TX
The Triumph of Painting - Part 4 The Saatchi Gallery, London (England)
Landscape Confection Orange County Museum of Art, Newport Beach
Frontiers - Collecting the Art of Our Time Worcester Art Museum, Worcester, MA

Cut, Susanne Vielmetter LA Projects, Culver City, CA
Post Modern, Greene Naftali, New York, NY
Landscape Confection Contemporary Arts Museum Houston, Houston, TX

“Dana Schutz, Amy Sillman, Kara Walker,” Brent Sikkema, New York, NY
Whitney Biennial, The Whitney Museum of American Art, New York, NY
Open House: Working in Brooklyn, Brooklyn Museum, Brooklyn, NY
Wonderland, Judy Ann Goldman Fine Art, Boston MA
Affect, Philip and Muriel Berman Museum of Art, Collegeville, PA.
True Stories, Johnson County Community College Gallery of Art, Overland
Park, KS
200 Drawings: Annie Herron and Barry Blinderman Select from the Pierogi Flatfile Illinois State University, Normal, Il
Beginning Here: 101 Ways, SVA Visual Arts Gallery, New York, NY

Comic Release: Negotiating Identity for a New Generation, Carnegie Mellon
University, Pittsburgh PA, January 18- March 21; New Orleans Contemporary Arts Center, New Orleans LA, April 11-June 15; University of North Texas, Denton TX, August 25- October 18; Western Washington University, Bellingham, WA: January 12- March 13, 2004, Armory Center for the Arts, Old Pasadena, CA, June 27- August 15
Rendered, Sara Meltzer Gallery, New York, NY

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

Six Contemporary Artists, The Clifford Gallery, Colgate University, Hamilton, NY
I’m Not Sure: Contructing Identity at the Turn of the Century, Susquehanna
Art Museum, Harrisburg, PA
718 Brooklyn, Palm Beach Institute for Contemporary Art, Lake Worth, FL
Works on Paper, Tibor De Nagy, New York, NY
The Approximative, Galerie Ghislaine Hussenot, Paris, France
Passing Through, Shaqab College of Design Arts, Doha, Qatar
Expanding Tradition, Contemporary works influenced by Indian miniatures, Deutsche Bank Gallery, New York, NY
American Academy Invitational Exhibition of Painting & Sculpture, New York, NY
Pixerina Witcherina, University Gallery, Illinois State University, Normal, Il

Blurry Lines, John Michael Kohler Arts Center, Sheboyan, WI
Painting Generation: 1920 –2000, Kagan Martos Gallery, New York, NY
Amy Sillman, Charline von Heyl, Joanne Greenbaum, James Van Damme Gallery, Brussels, Belgium
Greater New York, P.S.1, New York, NY
Group Show, Brent Sikkema, New York, NY

Works on Paper: Mentor, Sillman, Chagoya, Zolla Lieberman Gallery, Chicago, IL
The Stroke (selection by Kerry James Marshall), Exit Art, New York, NY
Parallel Lines: Mix and Match, Karen McCready Fine Arts, New York, NY
Compliment (collaboration with Jef Scharf), The Educational Alliance, New York, NY
New etchings and monotypes, Quartet Editions, New York, NY
Cosmogram, Galleria Marabini, Bologna, Italy
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, NY
Drawing Into Paint, Alfred University, Fosdick-Nelson Gallery, NY
Drawing in the Present Tense, Parsons School of Design, New York, NY
New Work, Cincinnati Center for Contemporary Art, Cincinnati, OH

The New Surrealism (with Team SHaG, collaborative painting with David
Humphrey and Elliott Green), Pamela Auchincloss Project
Space, New York, NY
Cluster Bomb, Morrison-Judd, London
Personal Touch, Art in General, New York, NY
Commitment to Image, University of North Texas, Denton, Texas
From Here to Eternity: Painting in the 1990’s, Max Protetch Gallery, New York, NY
Pop Surrealism (with Team SHaG), The Aldrich Museum, Ridgefield, CT
Codex USA, Entwistle Gallery, London
Drawings, Graham Modern Gallery, New York, NY
The Secret Charts, Jonctions Festival, Brussels (collaboration with filmmaker
Peggy Ahwesh)

Drawings and Paintings, Brent Sikkema/Wooster Gardens, New York, NY
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, Greensboro, NC
Current Undercurrents: Working in Brooklyn, The Brooklyn Museum of Art, Brooklyn, NY
New York Drawers (Pierogi 2000 flat files), Gasworks, UK
Distraction, TBA Exhibition Space, Chicago, IL
Irredeemable Skeletons, Sillman + Smith, London, UK
Team SHaG (collaborative paintings with David Humphrey and Elliot Green), Postmasters Gallery, New York, NY
Nu-Glu, Joseph Hellman, New York, NY

Imaginary Beings, Exit Art, New York, NY

Summer Group Show, Stefano Basilico , New York, NY
Wheel of Fortune, Lombard Fried Gallery, New York, NY
Imaginary Beings, Exit Art, New York, NY
International Graphics Biennial, Gyor, Hungary
Invitational Exhibition, Anina Nosei, New York, NY
Obsession, Chassie Post Gallery, New York, NY

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

Figure as Fiction, Cincinnati Center for Contemporary Art, Cincinnati, OH
Paintings, Trial Balloon Gallery, New York, NY
Mating Instinct, Penine Hart Gallery, New York, NY
Invitational Exhibition, Stux Gallery, New York, NY
Paintings, Salvatore Ala Gallery, New York, NY
1920, Exit Art, New York, NY

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

Amy Sillman and Terry Adkins, Dart Gallery, Chicago, IL
Ornament: Ho Hum All Ye Faithful, John Post Lee Gallery, New York, NY
The Painting Project, Part 1, Four Walls, Brooklyn, NY
New Generations: New York, Carnegie Mellon Art Center, Pittsburgh, PA
Lyric: Uses of beauty at the end of the century, White Columns Gallery, New York, NY

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

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

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

Artists Books, Museum of Contemporary Art, Chicago, IL

Selections 34, The Drawing Center, New York, NY

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

Visionary Landscapes, PS 122 Gallery, New York, NY