Please consider supporting our journalism, and help keep our independent reporting free and accessible to all. See available prints and multiples, paintings, and works on paper for sale and learn about the artist. Detail view of Sam Gilliam, “Heroines, Beyoncé, Serena and Althea” (2020), acrylic on canvas 72 × 96 inches. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. These new sculptures developed following Gilliam’s extended stay in Basel, Switzerland, for the installation of his exhibition at the Kunstmuseum Basel in 2018, where he noticed that the city’s population had grown more international through an influx of immigrants, primarily from Africa. Accompanying Existed Existing is a fully illustrated monograph that includes a new interview between the artist and curator Hans Ulrich Obrist, as well as commissioned essays by art historian and curator Courtney J. Martin and scholar and poet Fred Moten. Explore Sam Gilliam's biography, personal life, family and real age. Starting November 6, Pace’s two Chelsea locations will present the artist’s large-scale canvases beside monochromatic paintings on Japanese washi paper, which are made by repeated drenchings in color to create deep saturation. For six decades, Gilliam’s colors have swirled on canvases, his practice levitating above categorizations. This website uses cookies to offer you a better browsing experience. He credits jazz saxophonist John Coltrane for teaching him how to paint: “It’s time that matters: listening and realizing what happened with the music, my experience of sound established these references in painting.” For Existed Existing, Gilliam has carefully choreographed the placement of each work; relationships emerge in the architectural space created by the sculptural elements, unfolding rhythmically as viewer moves through the installation. At Pace, Gilliam has created what he calls a “dance” between three new bodies of work on the ground and on the walls; the exhibition intentionally choreographs an installation that asserts freedom and openness. See more ideas about Artist, Colour field, Abstract art painting. Sign in or become a member now. The seventh of eight children, Gilliam and his family moved to Louisville, Kentucky, shortly after he was born. By using this site, you consent to our use of cookies. Installation view, Sam Gilliam: Existed Existing, Pace Gallery, New York, Nov 6 – Dec 19, 2020 © Sam Gilliam / Artists Rights Society (ARS), New York. Growing up amid the rich musical culture of Tupelo, Mississippi, Gilliam was exposed to Billie Holiday and Muddy Waters at a young age and most of his family members were musical, including Gilliam himself, who sang and played the harmonica. Proudly powered by Newspack by Automattic. Gilliam's new sculptural works take the form of geometric objects—pyramids, parallelograms, and circles made from stacked and stained plywood and aluminum. Support Hyperallergic’s independent arts journalism. View the profiles of people named Sam Gilliam. Mark Rappolt Features 21 July 2014. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York. “Keep moving,” Gilliam advises, and indeed his sustained practice follows his own directive in its evolution. You must be a Member to post a comment. Densely layered and mixed with sawdust and other detritus from the studio, Gilliam flings, spatters, and throws paint to create fields of color interrupted by impressions of the artist’s hand, the mark of a palette knife, or the traces of a garden rake dragged across the wet surface. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. Sam Gilliam is one the great innovators in postwar American painting. In […] “Before painting, there was jazz.”—Sam Gilliam, 2014 When we look at Sam Gilliam’s painting April (1971), what music might we imagine to accompany the image? Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. The exhibition features three new bodies of work that include large-scale paintings, some titled as tributes to influential Black contemporary and historical figures; a series of geometric color-drenched wood objects; and monochromatic paintings on Japanese washi paper. The intensity of the saturation is such that the painting can no longer be seen as paper holding color but becomes color in and of itself. Continuing his series of signature beveled-edge paintings, which began in the 1960s, these canvases at first appear to emerge from the wall toward the viewer. For his latest exhibition, the artist has created what he calls a “dance” between three new bodies of work. Whitten (1938-2018) was a friend of Gilliam, and both artists featured in the recent survey Soul of a Nation: Art in the Age of Black Power. Can This Sam Gilliam Drawing Reveal Your Opinion of Trump? “He makes works I can’t get next to and can’t get out of,” writes poet Fred Moten about the iconic DC-based artist Sam Gilliam. Feature April 2013. Join Facebook to connect with Sam Gilliam and others you may know.