In order for lengthy, strong essays, the writer needs to apply his or her knowledge, therefore the knowledge needs to be vast. Here some work I have compiled by researching. Doing this was the real way to prepare for a good essay.
MacAdam, Barbara. “The New Abstraction.” ARTnews Apr. 2007: 110-117
It explains not only the history of abstraction, but the technique used in the modern time. Abstraction had begun in art a long time ago, but was shunted aside in America for a long time until major figures in the Art industry, like Kandinsky or Malevich, began developing art that spiked the interest of many in the 20th century. The new art modernized abstraction, and is overcoming the problems abstract art used to have.
Gaunt, William. A Guide to the Understanding of Painting. New York: Abrams, 1968.
The main purpose of this book is to suggest ways a person can look at paintings in order to understand them better, resulting in a little enjoyment from looking at paintings. There are many people, like myself, who do not appreciate paintings, but there’s a change that we do not look at them correctly, or rather, efficiently. In order to understand abstract paintings in its genre, art, this book can shed some light on the meanings of paintings, the meanings and ideas the artist simulates in his/her works.
Janis, Sidney. Abstract and surrealist art in the United States. San Francisco: Guaranty Co, 1944.
This book also talks of the history of abstract art in the U.C. though also surrealist art. Then it goes on to tell how they entwine in works of art.
“Abstraction.” NGACLASSROOM: For Teachers and Students. 2008. National Gallery of Art, Washington, DC. Apr. 28, 2008. http://www.nga.gov/education/american/abstract.shtm.
This document, forwarded by the National Gallery of Art in Washington, DC, mainly lists and timelines the history of abstract artists’ works in Europe, and jow they became appreciated in America. How it became appreciated is important, and in order to do that, it explains the concepts of the actual art’s techniques that caught American eyes.
“Selected Works by Amy Sillman.” The Saatchi Gallery. London Contemporary Art Gallery. Apr. 25, 2008. http://www.saatchi-gallery.co.uk/artists/amy_sillman.htm.
This has posts of some of Sillman’s works, and lists descriptions of them. Also, it includes quotes from the artist herself. Therefore information here is a primary, significant resource for a project.
Lambert, Jean. Abstract art. New York: Peeple’s Press, 1974.
Specifically on Abstract art, the book explains the advantages the style has in America. It is a small book, but goes straight to the points. It also includes images.
Butler, S. “Amy Sillman’s ‘Suitors & Strangers’ in Houston.” Two coats of paint. Sept. 30, 2007. http://twocoatsofpaint.blogspot.com/2007/09/amy-sillmans-suitors-strangers-in.html.
This site has one detailed blog on a recent visit Sillman had at the Art museum of the University of Houston in Texas. She has much of the works shown at the event, and not only is it seen by passer-bys, but also other re-known artists. This blog touches her work specifically, and what she seems to be works towards towards.
This is a list/ timeline of significant moments in Amy Sillman’s life. It noy only states where she was born, but also her colleges/ education, and her exhibition sites.
Bui, Phong. “Amy Sillman with Phong Bui.” The Brooklyn Rail. Apr. 2006. Apr. 25,2008 http://brooklynrail.org/2006/04/art/amy-sillman-with-phong-bui.
This is a post made by Phong Bui that he recorded while having a conversation with Amy Sillman. Their talk covers a lot of her life and work, including her influences. Of course, Phong relates also with his own experience, making their convo very professional in the world of paintings.
Sillman, Amy. “Directions-Amy Sillman.” The Blind Swimmer. March 10, 2008. April 25, 2008 http://theblindswimmer.com/2008/10/directions-amy-sillman/.
This specifically states the “direction” Sillman’s work is going. Or rather, it details her methods and manner towards her art work. Though “Directions” is also the name of a series of paintings Sillman has produced with the methods stated in the excerpt.
This is a video on a small, group-like discussion on Amy Sillman’s work. They touch upon her manners and styles, and also noticed her flebility and fluidity using oil painting. If is as almost as if she improvises most of her projects without much preparation needed.
Viking, Laidman. How to make Abstract Paintings. New York: Viking, 1961.
The book actually teaches the basics of making abstract art. Apparently anyone can do it, and there are many approaches. Though a studio is needed for large projects, it is described as well.
Tuchman, Maurice, et. (“and others”). The Spiritual in Art: Abstract Painting 1890-1985. New Abbeville, 1986.
This book goes precisely to the times dated in the tittle, and speaks about spirituality in art, not only artists and their works, but the actual political stand of certain artworks, mainly abstraction. Though as it is a thick book, it includes actual images of artwork as well.
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MacAdam, Barbara. “The New Abstraction.” ARTnews Apr. 2007: 110-117
It explains not only the history of abstraction, but the technique used in the modern time. Abstraction had begun in art a long time ago, but was shunted aside in America for a long time until major figures in the Art industry, like Kandinsky or Malevich, began developing art that spiked the interest of many in the 20th century. The new art modernized abstraction, and is overcoming the problems abstract art used to have.
Gaunt, William. A Guide to the Understanding of Painting. New York: Abrams, 1968.
The main purpose of this book is to suggest ways a person can look at paintings in order to understand them better, resulting in a little enjoyment from looking at paintings. There are many people, like myself, who do not appreciate paintings, but there’s a change that we do not look at them correctly, or rather, efficiently. In order to understand abstract paintings in its genre, art, this book can shed some light on the meanings of paintings, the meanings and ideas the artist simulates in his/her works.
Janis, Sidney. Abstract and surrealist art in the United States. San Francisco: Guaranty Co, 1944.
This book also talks of the history of abstract art in the U.C. though also surrealist art. Then it goes on to tell how they entwine in works of art.
“Abstraction.” NGACLASSROOM: For Teachers and Students. 2008. National Gallery of Art, Washington, DC. Apr. 28, 2008. http://www.nga.gov/education/american/abstract.shtm.
This document, forwarded by the National Gallery of Art in Washington, DC, mainly lists and timelines the history of abstract artists’ works in Europe, and jow they became appreciated in America. How it became appreciated is important, and in order to do that, it explains the concepts of the actual art’s techniques that caught American eyes.
“Selected Works by Amy Sillman.” The Saatchi Gallery. London Contemporary Art Gallery. Apr. 25, 2008. http://www.saatchi-gallery.co.uk/artists/amy_sillman.htm.
This has posts of some of Sillman’s works, and lists descriptions of them. Also, it includes quotes from the artist herself. Therefore information here is a primary, significant resource for a project.
Lambert, Jean. Abstract art. New York: Peeple’s Press, 1974.
Specifically on Abstract art, the book explains the advantages the style has in America. It is a small book, but goes straight to the points. It also includes images.
Butler, S. “Amy Sillman’s ‘Suitors & Strangers’ in Houston.” Two coats of paint. Sept. 30, 2007. http://twocoatsofpaint.blogspot.com/2007/09/amy-sillmans-suitors-strangers-in.html.
This site has one detailed blog on a recent visit Sillman had at the Art museum of the University of Houston in Texas. She has much of the works shown at the event, and not only is it seen by passer-bys, but also other re-known artists. This blog touches her work specifically, and what she seems to be works towards towards.
Sillman, Amy. “Amy Sillman: Biography.” Sikkema Jenkins and Co. Apr. 27, 2008. http://sikkemajenkinsco.com/amysillman_bio.html.
This is a list/ timeline of significant moments in Amy Sillman’s life. It noy only states where she was born, but also her colleges/ education, and her exhibition sites.
Bui, Phong. “Amy Sillman with Phong Bui.” The Brooklyn Rail. Apr. 2006. Apr. 25,2008 http://brooklynrail.org/2006/04/art/amy-sillman-with-phong-bui.
This is a post made by Phong Bui that he recorded while having a conversation with Amy Sillman. Their talk covers a lot of her life and work, including her influences. Of course, Phong relates also with his own experience, making their convo very professional in the world of paintings.
Sillman, Amy. “Directions-Amy Sillman.” The Blind Swimmer. March 10, 2008. April 25, 2008 http://theblindswimmer.com/2008/10/directions-amy-sillman/.
This specifically states the “direction” Sillman’s work is going. Or rather, it details her methods and manner towards her art work. Though “Directions” is also the name of a series of paintings Sillman has produced with the methods stated in the excerpt.
Martin, Zooey. Amy Sillman: Suitors and Strangers. Nov. 2, 2007. Youtube.com. Apr. 27, 2008 http://www.youtube.com/watch?=j91pFjvT9yU&NR=1.
This is a video on a small, group-like discussion on Amy Sillman’s work. They touch upon her manners and styles, and also noticed her flebility and fluidity using oil painting. If is as almost as if she improvises most of her projects without much preparation needed.
Viking, Laidman. How to make Abstract Paintings. New York: Viking, 1961.
The book actually teaches the basics of making abstract art. Apparently anyone can do it, and there are many approaches. Though a studio is needed for large projects, it is described as well.
Tuchman, Maurice, et. (“and others”). The Spiritual in Art: Abstract Painting 1890-1985. New
Abbeville, 1986.
This book goes precisely to the times dated in the tittle, and speaks about spirituality in art, not only artists and their works, but the actual political stand of certain artworks, mainly abstraction. Though as it is a thick book, it includes actual images of artwork as well.
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