London

Amy Sillman, Dub Stamp, 2018, acrylic, ink, and silk screen on paper. Installation view. Photo: Damian Griffiths.

Amy Sillman

Camden Arts Centre

Amy Sillman, Dub Stamp, 2018, acrylic, ink, and silk screen on paper. Installation view. Photo: Damian Griffiths.

By titling her new exhibition “Landline,” Amy Sillman might seem to suggest a longing for the past. But no one would accuse the artist of nostalgia. The show—organized by Martin Clark and containing thirteen paintings, several groups of works on paper, and two animated videos—is set firmly in the present, and makes it clear that our politics are ruling, invading, colonizing Sillman’s mood.

The show’s first room features Dub Stamp, 2018, a suite of twelve double-sided works on paper hung on a wire cutting diagonally across Camden Arts Centre’s large, street-facing second-floor space. Some of the panels—made with silk screen, ink, and acrylic—portray a rigid, bent-over figure; others layer silk-screened brushstrokes over Benday-style dots or washes, shapes, cutouts, and outlines. Appearing as if in a sequence, the figure seems to grovel across the room, her vomit

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