NSE

Amy Sillman: To Be Other-Wise
Artist Amy Sillman joins poet and Rail contributor Charles Bernstein for a conversation.
The New Social Environment #1079
Recorded on Friday, May 31, 2024 at 1 p.m. Eastern / 10 a.m. Pacific
brooklynrail.o...
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In this talk:
🚩 Amy Sillman -- Amy Sillman has lived and worked in NYC since the mid-1970s. She is best known for her rigorous formal engagement with painting and iterative drawings, and an excavation of form that lies between abstraction and figuration. Over the decades of her practice, Sillman has developed a rich, open-ended exploration of how painting might work in relation to diverse media and, in particular, questions of time and sequence. She has experimented with embedding painting with such forms as animations, digital printmaking, large-scale drawing installations, and zines. Sillman’s work has been exhibited widely in the USA and Europe, and her works are in many private and public collections. Her collection of art writing, Faux Pas, is in its third reprint since its initial publication in 2020.
• www.amysillman...
🚩 Charles Bernstein -- Poet Charles Bernstein is the winner of the 2019 Bollingen Prize for Near/Miss (University of Chicago Press, 2018) and for lifetime achievement in American Poetry. He is the author of Topsy-Turvy (Chicago, April 2021) and Pitch of Poetry (Chicago, 2016).
• In the rail: brooklynrail.o...
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We'd like to thank the The Terra Foundation for American Art for making our daily conversations possible, and for their support of our growing archive.
• Follow @terraamericanart / terraamericanart
• Learn more at www.terraameri...
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This conversation was produced by THE BROOKLYN RAIL:
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[@PhoenixWave23]

Lovely and very inspiring. Fascinated by Amy Sillman's thoughtful approach to abstract work.

[@treesart6914]

This was good, thank you.

[@BrianCGibson]

Agreed!

[@claudiamanta1943]

28:11 Now you’re talking! That’s revelatory. I would say, it complements the previous one by highlighting the structure that the first painting in the series that has not yet begun will have attempted to escape the conformity of good taste in art. Revolutionary. And visionary.

[@claudiamanta1943]

29:26 Yes, and yes again. It’s phenomenal phenomenology with a bit of phrenology as the painter was almost blue when she painted this. The profundity of ineffable angst with hues of almost blue that pass as Jungian shadow of the red in another painting the artist will paint in 9 months from now. It is seminal. Seriously.

[@MrLjw1001]

You totally have to see them in real life. I was blown away by the real works.

[@claudiamanta1943]

27:06 It really is one superb structural iteration through conglomeration of colourisation of inspiration. 🤩

[@claudiamanta1943]

27:37 I told you about the red line, did I not? I am, practically, an art critic with a fine insight into the artist’s psyche.

[@claudiamanta1943]

36:15 Hitchcock nods. I am not an artist, but yes, I do have an albatros existential problem. It keeps me awake at night, its shadow threatening the fries of Buddhist illusion that my Ego munches on whilst taking a stroll on the beach of the collective Unconscious.

[@claudiamanta1943]

30:53 The tiny rectangular protuberance is the clown’s anatomical part which explains the yellow stain on the left side in the previous painting. The harpy managed to existentially avoid the clown taking the piss. The use of slang is not only acceptable here, but required to transmute the reality of city walls on which men inebriated with the nectar of artistic ecstasy splash their inspiring motifs. It’s the archetypal flood of biblical significance. Which explains the harpy subject as a symbol of Eve’s emancipation. Though, of course, me identifying as a ‘she/her’ I fight against the word ‘emancipation’ because it conveys the idea of a woman being ex- man, like Eve out of Adam’s rib.

[@claudiamanta1943]

I will never be a successful painter because I just cannot talk so much, so spontaneously, so nonsensically 😳😂

[@claudiamanta1943]

30:06 Obviously.

[@claudiamanta1943]

26:55 ‘the Clock’. Yup, I can see it’s 3:67, but it is metaphysically concealed behind the green line that reveals itself as a red line. It’s about crossing time or, better said, transcending time- and space- through crossing the line of common sense. 🧐

[@matthiasbargholz5125]

I ran into Amy a few weeks ago and told her how much I hated her new show