Amy Sillman: One Lump or Two by Helen Molesworth, Hardcover | Barnes & Noble®The lowest-priced item that has been used or worn previously. The item may have some signs of cosmetic wear, but is fully operational and functions as intended. This item may be a floor model or store return that has been used. See details for description of any imperfections. Skip to main content. About this product. Stock photo.
The Art of Amy Brown
Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book.
In order to set up a list of libraries that you have access to, you must first login or sign up. Then set up a personal list of libraries from your profile page by clicking on your user name at the top right of any screen. You also may like to try some of these bookshops , which may or may not sell this item. Separate different tags with a comma. To include a comma in your tag, surround the tag with double quotes.
As the title for a mid-career retrospective organized by the ICA, Boston, Amy Sillman: one lump or two , sounds cozy and whimsical, an art exhibition cast as a pleasant chat over tea. Then one recalls a similar question once was asked by Bugs Bunny before he delivered whacks to the head of the unsuspecting Pete Puma. Her wit disarms expectations, allowing her to explore modernist form in a contemporary manner, invention flowing seemingly unfiltered from an endlessly turning mind and hand. Is Sillman the funniest contemporary artist going? This direct, self-deprecatory voice, part of yet outside the piece, appeals through its ambivalence and immediacy. In these and other works Sillman appears as the painter of the uncertain, the body-shamed, and all those who suffer from imposter syndrome.
Shop by category
Eyeless and voiceless faces that nonetheless see and speak. The hand means action: it grasps, it creates, at times it would seem even to think. Above all the hand touches the world itself, feels it, lays hold of it and transforms it. Say it, no ideas but in things— nothing but the blank faces of the houses and cylindrical trees bent, forked by preconception and accident— split, furrowed, creased, mottled, stained— secret—into the body of the light! No ideas but in bodies. No ideas but in couples. No ideas but in portraits.
Amy Sillman. Accompanying a major museum retrospective of the acclaimed American painter, this book traces Amy Sillman's diverse body of work that includes drawings, cartoons, paintings, and animated videos produced on an iPhone. From her early small-scale cartoon figures to her later enormous abstract paintings, Amy Sillman's artistic vision shines through in this beautiful volume that covers the period from to the present. Filled with drawings, paintings, and 'zines, as well as stills from the artist's recent forays into animated films, the book traces the development of Sillman's work from her early use of cartoon figures and a vivacious palette through her exploration of the diagrammatic line, the history of Abstract Expressionism, and a growing concern with the bodily and erotic dimensions of paint. This book also examines the importance of drawing in Sillman's practice as well as the intensity with which she has embraced the dichotomy between figuration and abstraction. It celebrates her raw emotion, curiosity, erotic power, and humor.