Culture 菌整理编辑，版权为艺术家本人所有
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Untitled (Proposed Project for now-closed North General Hospital, Harlem, NY) Oil and stitched fabric collage on wood 38.1 x 228.6 cm 15 x 90 inches 1992
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Green April Acrylic on canvas 248.9 x 688.3 x 9.8 cm 98 x 271 x 3 7/8 inches 1969
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May III Acrylic on canvas 137.2 x 279.1 x 5.7 cm 54 1/8 x 110 x 2 1/4 inches 1972
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Untitled Watercolour on paper 46.4 x 60.3 cm 18 3/8 x 23 3/4 inches 64.5 x 78.7 x 5.1 cm (incl frame) 25 1/2 x 31 x 2 1/8 inches (incl frame) 1967
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Empty Acrylic on canvas 182.9 x 186.1 cm 189 x 193 cm (incl frame) 1972
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Untitled Mixed media on paper 34.9 x 44.8 cm 13 3/4 x 17 3/4 inches Signed and dated lower right: 'Sam Gilliam 71' 1971
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Spin and Splash Acrylic on canvas, bevel-edge 182.9 x 182.9 x 9.5 cm 72 1/8 x 72 1/8 x 3 3/4 inches 2021
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Foggy Acrylic, aluminium granules, copper chop, sawdust and flocking, encaustic medium, paper collage element on canvas 243.8 x 243.8 x 10.2 cm 96 x 96 x 4 1/8 inches 2021
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Four Acrylic on canvas Installation dimensions variable, approximate installation dimensions: 63 x 55 x 10 inches, 160 x 139.7 x 25.4 cm 1970
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Empty Acrylic on canvas 182.9 x 186.1 cm 189 x 193 cm (incl frame) 1972
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Annie Watercolour on washi paper 197.2 x 107 cm 77 3/4 x 42 1/4 inches 205.4 x 115.3 x 5.1 cm (incl frame) 80 7/8 x 45 1/2 x 2 1/8 inches (incl frame) 2022
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Annie Watercolour on washi paper 182.2 x 99.9 cm 71 3/4 x 39 3/8 inches 191.1 x 109.9 x 5.1 cm (incl frame) 75 1/4 x 43 3/8 x 2 1/8 inches (incl frame) 2021
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山姆·吉利亚姆（Sam Gilliam）是战后美国绘画中最伟大的创新者之一。1960年代中期，他从华盛顿特区的现场出现，详细阐述并破坏了彩色学校绘画的精神。Sam Gilliam was one of the great innovators in postwar American painting. 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.
一系列正式的突破很快就会导致他的规范悬垂绘画，这以全新的方式扩大了抽象表现主义的宗旨。吉利亚姆（Gilliam）从展览空间的墙壁或天花板上悬挂了无弹力的彩绘画布，改变了他的媒介和观看的环境。作为国家首都的一名艺术家，在民权运动的巅峰时期，这不仅仅是一种审美主张。这是定义艺术在经历巨大变化的社会中的作用的一种方式。吉利亚姆（Gilliam）追求了一个开创性的课程，其中实验是唯一的常数。受爵士乐的即兴创作精神的启发，他的抒情抽象采用了越来越多的形式，情绪和材料。A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. 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. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials.除了由华盛顿特区的Corcoran艺术画廊组织的旅行回顾展外，Sam Gilliam还是纽约现代艺术博物馆的个展（1971）的主题。纽约哈林的工作室博物馆（1982）；惠特尼美国艺术博物馆，菲利普·莫里斯分公司，纽约（1993）；肯塔基州路易斯维尔的J.B. Speed Memorial Museum（1996）；菲利普斯收藏，华盛顿特区（2011年）；以及瑞士的Kunstmuseum Basel（2018）等许多机构。吉利亚姆（Gilliam）的绘画的半永久装置于2019年8月在DIA：Beacon开放。他的作品包括在五十多个公共收藏中，包括Art Moderne de la Ville de Paris的作品；泰特现代，伦敦；纽约现代艺术博物馆；纽约大都会艺术博物馆；和芝加哥艺术学院。In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago.
© Sam Gilliam
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