File:Amy Sillman Purple Thing 2006.jpg

Painting by Amy Sillman, Purple Thing (oil on canvas, 80" x 72", 2006). The image illustrates a mid-career body of work by Amy Sillman in the 2000s, when she produced paintings at an enlarged scale from earlier work, which employed broader, more physical gestures and explored the body, interpersonal dynamics, the erotic and psychosexual tension. These works consisted of patches of high-contrast color, bursts of chaotic line and weblike scaffolding, open fields of subtly modulated color, and crude figurative elements that emerged along compositional fault lines or out of rough edges and thickets of brushstrokes. This body of 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

Entire artwork

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 2000s: her paintings which were produced at an enlarged scale from earlier work, employed broader, more physical gestures, and explored the body, interpersonal dynamics, the erotic and psychosexual tension. Sillman's paintings combine traditional formal concerns—explorations of color, shape, surface and line, play with figure and ground, scale, and flat versus recessive space—that she complicates with approaches from other media (drawing, cartoons, collage, animation) and unconventional display strategies. They are marked by a direct engagement with materials and radical shifts in palette, brushwork, scale and the structuring logic of either drawing or painting. 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.