This post appeared originally here in the Boston art journal Big Red & Shiny.
In a recent conversation with Amy Sillman at the opening of Leidy Churchman’s provocative solo show, Lazy River, at the Boston University Art Gallery, I asked Sillman about the state of painting. In 2011, Artforum considered the “The Ab-Ex Effect,” thereby attempting to take the pulse of a simultaneously revered and reviled hallmark of modernism in the visual arts. Where had painting come since then? It was a question that had plagued me ever since my first encounter with Nicole Eisenman’s paintings, prints, and sculptures.1 Eisenman’s investment in art history, when combined with her penchant for absurdity and subversion, seemed to upend everything I knew about contemporary art. The same shock occurred when I thought about Sillman and her inscrutable mixture of pigment and perversion—and iPhones. With Amy Sillman: one lump or two opening at the Institute of Contemporary Arts, Boston, and Nicole Eisenman appearing in both the 2013 Carnegie International and Nicole Eisenman: In Love with My Nemesis at the Contemporary Art Museum St. Louis in 2014, it seems that we are on the verge of a new definition of artistic practice.
I had attempted for a while to characterize this charged moment, but it was not until Sillman answered, “It’s almost a queer formalism” that I found the necessary words.2 The phrase captures something revolutionary, a sense of palpable anticipation for much-needed transition that is just around the corner. The move toward queer formalism prefigured by Sillman and Eisenman, as well as artists Elise Adibi and Leidy Churchman, cannot be fully explained in a single article or with one analytical lens. It is my hope here to offer a set of disjointed thoughts that will coalesce into a question or a basis for further investigation, but never an answer.