File:Amy Sillman Inst. the All-Over 2016.jpg

installation by Amy Sillman, from "the All-Over" exhibition (24 canvasses silkscreened and painted in acrylic and ink, each panel approx. 50" X 70", 2016, Portikus, Frankfurt, Germany. Installation also included a video, clay figurine, and edition of a zine). The image illustrates a mid-career body of work in Amy Sillman's career in the 2010s, when she produced exhibitions that introduced new formats, such as digital drawings and animation, zines, and sequential installations that emphasized temporal aspects of her art. In several shows, including the one pictured here ("the All-Over" at Portikus, 2016), she presented end-to-end installations—functioning like film frames or accordion books—of multi-media works combining silkscreened or ink-jet printed, painted and drawn elements. They layered networks of figurative elements, abstract gesture and blended color to create a sense of metamorphic transformation across individual pieces, blurring lines between reproduction and spontaneity, painting and print and offering visible traces of Sillman's thinking and process. This work was publicly exhibited in prominent exhibitions, discussed in major art journals and daily press publications and acquired by a major museum.

Artist Amy Sillman. Copyright held by the artist.

Amy Sillman

Installation view

Yes

The image serves an informational and educational purpose as the primary means of illustrating a mid-career body of work by Amy Sillman in the 2010s: her exhibitions and installations that introduced new formats, such as digital drawings and animation, zines, and sequential displays of works that emphasized temporal aspects of her art. In several shows (including venues such as Portikus and Gladstone Gallery), she presented end-to-end installations of multi-media works combining silkscreened or ink-jet printed, painted and drawn elements. Their layered networks of figurative elements, abstract gesture and blended color passages created a sense of metamorphic transformation across pieces and effaced lines between reproduction and spontaneity, painting and print. Because the article is about an artist and her work, the omission of the image would significantly limit a reader's understanding and ability to understand this key stage and body of work, which illuminated new aspects of Sillman's oeuvre and brought further recognition through exhibitions and coverage by major critics and publications. Sillman's work of this type and this series is discussed in the article and by critics cited in the article.

There is no free equivalent of this or any other of this series by Amy Sillman, and the work no longer is viewable as shown, so the image cannot be replaced by a free image.

The image will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general workings of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.