Amy Sillman: Amy Sillman Is a New York-Based Artist. Her Most Recent Exhibition, "I Am Curious (Yellow)," Appeared at Brent Sikkema, New York, Last Spring

Artforum International, November 2003 | Go to article overview

Amy Sillman: Amy Sillman Is a New York-Based Artist. Her Most Recent Exhibition, "I Am Curious (Yellow)," Appeared at Brent Sikkema, New York, Last Spring


1 VIKINGS It seems paganism, marauding, and discovering America help develop fabulous imaginations. Hans Christian Andersen did some of the earliest performance pieces I know about: Traveling throughout Scandinavia with a large pair of scissors, he cut paper while narrating his tales, unfolding intricate silhouettes of characters as he went. The early twentieth-century Swedish mystic Hilma af Klint, way ahead of the curve, painted monumental geometries, arabesques, swans, and dice, all in a trance state. And then there's the current crop of fabulously imaginative Viking painters. Swedes Sigrid Sandstrom and Mamma Andersson and Denmark-based Tal R are my favorites.

2 LEONORA CARRINGTON Wiccan freakout! A debutante-turned-staunch feminist, the surrealist painter and writer Leonora Carrington was born in England and has lived in Mexico City for the past fifty years. It's rare to see her work in the US, but Susan Aberth, an expert on the octogenarian artist, has shown me her personal stash of foreign publications. Carrington's early work features uncanny personages and equine beings in Bosch-like spaces. In newer work, crones and beasts commingle in tangled, brooding caverns, cooking up some kind of Kabbalistic magic.

3 KAYROCK SCREENPRINTING, INC. This hive of silkscreen activity is the real Williamsburg bridge--between art and rock 'n' roll. Adorable proprietors Kayrock and Wolfy have invented an ethical day job, overthrowing the status quo in art/rock design with good old DIY attitude and exacting production values. When I did a T-shirt with them last spring, they rolled each one into a neat package wrapped with an elaborate label. This is also the spawning ground for the way underground band Roxy Pain, who have been playing quiet private sets for a decade.

4 SYMBIOPSYCHOTAXIPLASM: TAKE ONE William Greaves is best known as the director of award-winning documentaries on African-American history. In 1968 he made this screwball verite film-within-a-film-about-a-film (more hilarious than anything from the Dogma gang), in which we witness the shooting of a couple's breakup scene in Central Park. Off camera, as the production itself falls apart, Greaves improvises more and more desperately, and the crew finally mutinies. Stay tuned for Symbiopsychotaxiplasm: Take Two; Greaves's website notes that Steve Buscemi has signed on to codirect a sequel.

5 NICOLE EISENMAN Half of the new drawing shows I've seen lately hearken back to Eisenman's mid-'90s work (where punk meets Ashcan). I'm not sure if kids are copying her or picking up her vibe through mazes of influence. Her ambient early installations ran the gamut from obscene jokes scrawled on gallery walls to WPA-size murals of quasi-official female empowerment. Now she's working in upstate New York on large oil paintings peopled with dark and comic local characters. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Amy Sillman: Amy Sillman Is a New York-Based Artist. Her Most Recent Exhibition, "I Am Curious (Yellow)," Appeared at Brent Sikkema, New York, Last Spring
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.