Tyler Green at Modern Art Notes has just finished his week long review/discussion of the Amy Sillman show currently at the Hirshhorn Museum and Sculpture Garden. We can’t
get enough…

Amy Sillman layers paint over layers of paint the way Richard Diebenkorn did. Sometimes she loads up her brush like Park, Bischoff or other Bay Area School types. She shmears wet paint across a canvas like Gerhard Richter. Sometimes she dabs it on almost tentatively, as Guston did in his great Turneresque abstractions.

Then there are the compositions themselves. Her diagonals reject a painter’s tendency to grid, the same way Diebenkorn’s did circa Ocean Park. This one recalls Lee Bontecou’s delicate, small hanging sculptures from 1967. A green, red and gray section on the right-hand side of I (2008, below) seems informed by those atmospheric Gustons. The vaguely cartoony shapes in several of the paintings here (including this one) abstract Carroll Dunham’s body parts. And Sillman’s stitching together of seemingly disparate swatches of sometimes garish color and pattern recall 1980s David Hockney. Sillman’s rejection of a traditional, harmonious, palette reminds me of of abstraction from about that period, including Howard Hodgkin, Jonathan Lasker and Thomas Nozkowski.

Critical Response
Part 1
Part 2
Part 3