Artist’s Choice: Amy Sillman

The Shape of Shape

VALIE EXPORT. Encirclement from the series Body Configurations. 1976. Gelatin silver print with red ink. 14 x 23 7/16" (35.5 x 59.6 cm). © 2019 VALIE EXPORT / Artists Rights Society (ARS), New York / VBK, Austria
  • MoMA, Floor 5, 516

As a painter, I’ve always had an eye for shapes. Shape defines every outline, mass, and negative space. And everyone has a personal shape: namely, a shadow, that strange, flat, constantly shifting form that goes wherever you go, attached to both body and psyche. But even though shape is everywhere, we don’t talk about it much; it’s not a hot topic in art, like color or systems. I wonder if, in fact, shape got left behind when modern art turned to systems, series, grids, and all things calculable in the 20th century. Was shape too personal, too subjective, to be considered rigorously modern? Or is it just too indefinite, too big, to systematize?

I had these questions in mind as I curated this Artist’s Choice exhibition, and I decided to look for works in MoMA’s collection in which shape does prevail over considerations. I found a wealth of artworks, far too many to include here, by artists who dig into life’s surfaces, who start with physical perception rather than abstract logic. Often eccentric, poetic, or intimate, these works are like bodies that speak, operating at the hub of language and matter, signs and sensations.

During my search, I realized that shape-makers were also often outliers in modern art. Some of these artists were overlooked, or out of sync with their time. Perhaps this is because shape-artists tend to work with uncertainty and vulnerability instead of the self-assurance and dependability of systems. Doubling back to look at them now, in different configurations, can reopen old questions. We see how these artists explore the frailty of bodies, their marginalization, but also their revision and repair—making plain the political realities of having a body to begin with. They proceed by marking what we imagine to be the self, which like the shadow is a force both new and ancient.

Amy Sillman (American, born 1955)

Organized by Amy Sillman with Michelle Kuo, The Marlene Hess Curator, and Jenny Harris, Curatorial Assistant, Department of Painting and Sculpture.

Inaugurated in 1989, the Artist’s Choice series invites artists to organize exhibitions drawn from MoMA’s collection. Sillman is the fourteenth artist to participate in the series.

The Artist’s Choice exhibition series is made possible through The Agnes Gund Artist’s Choice Fund endowed by Iara Lee and George Gund III, Lulie and Gordon Gund, Ann and Graham Gund, and Sarah and Geoffrey Gund.

Additional support is provided by the Annual Exhibition Fund.

Painted wall backdrop created by Amy Sillman. Special thanks to Albert Dietrich.

Event

Artists

Installation images

How we identified these works

MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos.

If you notice an error, please contact us at digital@moma.org.

Licensing

If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at firenze@scalarchives.com. Motion picture film stills or motion picture footage from films in MoMA’s Film Collection cannot be licensed by MoMA/Scala. For licensing motion picture film footage it is advised to apply directly to the copyright holders. For access to motion picture film stills please contact the Film Study Center. More information is also available about the film collection and the Circulating Film and Video Library.

If you would like to reproduce text from a MoMA publication or moma.org, please email text_permissions@moma.org. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to archives@moma.org.

Feedback

This record is a work in progress. If you have additional information or spotted an error, please send feedback to digital@moma.org.