Since the 1990s, Amy Sillman has produced a prolific body of paintings, zines, prints, and animations featuring an expansive vocabulary of gestures that move seamlessly between figuration and abstraction. Sillman builds up layered yet flattened compositions that belie her process-oriented way of working, resulting in, as the artist describes, “. . . an open field, where figure and ground are in very ambivalent, complex relationships.” The allover method of her paintings often extends to her exhibitions, as she treats the walls like blank pages, spaces for iterative prints and works on paper to accumulate, engaging both the temporal and spatial dimensions of the work and its surroundings. At Dia Bridgehampton, Sillman extends this totalizing sensibility in a site-responsive commission for the ground-floor gallery, beginning with a question: Can printmaking itself serve as a model and method for a whole room? To answer this question, she proposes a room of printed and hand-painted walls, a ground for other printed and handmade forms to be placed on. Sillman’s extensive writing on color can serve as a particular point of departure for the exhibition, conceived partially in response to the chromatic vibrations of the permanent Dan Flavin installation on the second floor.

Amy Sillman is curated by Jordan Carter, curator and co–department head, with Emily Markert, curatorial assistant.

All exhibitions at Dia are made possible by the Economou Exhibition Fund.

Amy Sillman was born in Detroit in 1955. She lives in New York City.

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