1341:, Whitney Museum. Entry 119 reads: "Nicolaus Ludwig Zinzendorf, Count of Zinzendorf and Pottendorf (1700-1760), founder of the Moravian missionary order, visited America in 1742 to look after the new missions in Pennsylvania. Thinking him another rapacious white man, the Indians (Shawanese) of the region (Wyoming Valley) plotted to murder him. But impressed by his charismatic manner and his apparent immunity to a poisonous snake, which crawled over his leg, they spared his life instead."
31:
710:(Bennington College, 1992); and 2) with the photographer David A. Hanson, Photographs in Ink (Fairleigh Dickinson University, 1996). An historical survey of photomechanical printing, from early systems up to three/four-color letterpress halftone, such an exhibition was rare at the time. All 120 items on display were culled from the personal collections of the two curators.
622:) Tillim also assembled two groups of essays for publication. One, "Art after Ideology: Selected Writings, 1959-89," anthologizes thirty years of magazine writing; the other, "The Return of Bad Art: Art in the Age of Mechanical Representation," concerns photography and its impact on and assimilation by fine art in the postmodern twentieth century.
730:.) His parents divorced in 1941 and, until he went into the Army, the teenage Tillim stayed with relatives in Brooklyn or in a boarding house with his errant father. Much like him, Tillim was a "dude" when it came to dress. (In the photograph at the head of this article, he can be seen in his studio painting in a suit and tie.)
385:
enmity.) As a consequence, in the mid-1980s when there were no commercial showings of this work, Tillim was challenged multiple times by the
Internal Revenue Service on his claim to the profession "artist" (vs "teacher/ critic," with "artist" relegated to the category of hobby). Tillim prevailed in every audit.
396:
In 1992 Tillim started rubbing opaquing film (Korectype) on paper, scraping the film with his fingernails, brushes, scissors, etc. "Korectype appeals to me as a medium because it is both mechanical and manual at once. With it one makes a mark that is personal and impersonal—surprising and finished,
388:
Tillim's representational art had developed in the socially and politically unstable sixties and seventies; while his experiments in abstract art occurred at the time conservatism took hold in the eighties and nineties. It was in 1987 that he accidentally kicked over a can of paint in his studio and
866:
Tillim's papers consist of a voluminous correspondence (to and from 1,000 writers); records that document his practice as an artist, writer, teacher, and curator; inventories of book collections; as well as biographical records, his annotated personal library, recordings, memorabilia, and ephemera
384:
stabbing his wife at a party). His narrative work in this short-lived style elicited some of the best reviews he would receive; while his totally abstract work would attract no attention for years. (In some quarters of the figurative revival, this embrace of abstraction would earn him life-long
807:
Tillim's journals offer a rare look into the New York art world in the second half of the twentieth century by an insider with an "oppositional mind"—a painter of not only figuration but also abstraction; a critic who wrote for important art magazines, cutting-edge and established; an artist who
1144:
Tillim, Sidney. "Bugs Bunny Meets the
Sublime" , Summer 1992. In: Resident Artists Lecture Series. Skowhegan School of Painting and Sculpture, Maine. The Skowhegan audio archive is on deposit at the libraries of The Archives of American Art, Museum of Modern Art, Art Institute of Chicago, Getty
389:
proceeded to soak up the spill off the floor with a roll of paper towels. The saturated toweling inspired him to imprint the sheets directly onto the canvas. He had stumbled upon a process that made concrete his ideas about reproduction, repetition, fabrication, and
475:
Tillim's last exhibition was eight 'banal,' 'ordinary,' 'even kitschy,' contemporary history paintings. The show, Sidney Tillim Recent
Paintings, took place in 2001, four months before the artist died, making it perforce—much as is the painting
373:. "The idea was just to paint pictures, not to make art.... are the climax of the first period (note the sizes of the pictures).... I intended a kind of humor though, even in the abstract, to deflate pretension. To make art is pretentious."
468:. "Banality represented under the proper art historical, stylistic conditions is the only credible source of art beauty in late twentieth-century art," avowed Tillim. "If there's not an element of the banal, of the ordinary, even the '
400:
Then in 1993, feeling he had taken these experiments as far as he could, Tillim resumed painting with brushes. The brushworks are large abstract compositions, loose grids of shapes of dripping color that, as intimated in the title
780:
In 1956 Tillim married Muriel
Schochen (aka Muriel Sharon, 1919–96), the founding director of the Children's Theater at the 92nd Street YM-YWHA, New York. In 1998 he married the art historian Diane Radycki (b. 1946), the author of
405:, are simultaneously "magnificent" and "disenchanted." This new work took Tillim away from issues of perception and mechanical reproduction, inherent in the imprints, and brought him back to "painting about painting."
196:
to study journalism, only to switch to fine arts after a year. He earned a BFA in painting and illustration, magna cum laude, in 1950. In college he became interested in representational and abstract artists:
690:). On the latter subject, he organized two exhibitions (with catalogues), one contemporary and one historical: 1) Photography Reproduction Production/ The Work of Art in the Age of Mechanical Representation:
393:. The imprints are large and colorful, energetic and elegant—qualities that had been held in check by the labor of history painting (which could take months and in one instance, Tillim admitted, took years).
152:(June 16, 1925 – August 16, 2001) was an American artist and art critic, known for his maverick painting and independent point of view on modern art in post-war America. Best remembered for his revival of
808:
taught criticism at a college outstanding for its fine-arts curriculum; and an amateur collector who put together a museum-quality collection of specimens of 19th-century photomechanical reproduction.
1519:
Sidney Tillim, Artist statement, in: At Hand: New
Methods, New Materials , Payne Gallery, Moravian College, 2000. Illus. three Korectypes. For illustration of an additional work in this medium, see
521:. Tillim, one of Leider's early East-Coast hires, was a contributing editor from 1965 to 1970. He wrote nineteen articles for the influential magazine, including "The Figure and the Figurative in
1686:
1532:
In 1993, for Tillim's second solo exhibition in
Germany, Galerie Vorsetzen, Hamburg, produced a beautiful catalogue with eleven color plates of the imprints and five of the new brushworks,
761:, and won the Freshman Prize in painting (for figurative work). Tillim would often apply his sportswriter's visual sensibility to his artist's narrative talent. (Figurative paintings like
232:
wrote: "Here is a small collection of a painter's poetry.... He is not afraid to use strong language—if he sees dung, he names it. If his body is on fire, he says so. This is promising."
515:
Tillim's studio practice informed his critical thinking. "He had the most individual turn of mind of anyone I knew in the world of art," wrote Philip Leider, the founding editor of
1328:. (The painting is partially visible in the photograph in the Infobox of this article.) Kate Houskeeper, a Bennington College sophomore, died in a car crash, April 7, 1969.
811:
Tillim's drawings and sketchbooks cover his entire oeuvre, and include preparatory studies for the major paintings. There is also an atlas-size, limited edition portfolio,
180:, where, as a young teenager, he twice won the Tidewater Marbles Championship (1938, 1939). During the summers of 1946 and '47, he covered Piedmont League baseball for the
1157:
Photography
Reproduction Production/ The Work of Art in the Age of Mechanical Representation: Richard Artschwager, Ellen Brooks, Joseph Nechvatal, Mark Tansey, Andy Warhol
1848:
220:
After graduation, Tillim headed to
California where he took a series of jobs as he painted, wrote poetry, and acted. In Monterey in 1952 he had his first solo show (
285:, 1969 ("A kind of history painting...of the psychological reality of our time.... about the secular experience and the 'hero' of that experience—secular man.");
1479:
reviews: Hilton Kramer, "Sidney Tillim" (at
Meredith Long Contemporary), October 26, 1979; and Ken Johnson, "Sidney Tillim, Trans Hudson Gallery," April 3, 1998.
1267:
Biographical, exhibition, and collection information is found in the records of the Sidney Tillim
Archive. Information can also be found in the back matter of
863:, June Leaf, et al.), from doodles drawn during faculty meetings and random sketches made of one another, to a life-size plaster head and face mask of Tillim.
1838:
156:
in the 1970s, Tillim alternated between the figurative and the abstract throughout his career. Likewise, although he wrote on a wide range of topics for
753:, 1946–50. In high school Tillim took art courses and wrote and drew sports cartoons for the high school weekly. In the army he wrote and illustrated
618:, whom he considered the most important influence on his own criticism. (Tillim had portrayed Greenberg, a long-term friend, in 1969 in the painting
448:
and colors with the traditions of art. These could range from the stiff elegance and frozen detachment of the Italian Primitives whom Tillim admired—
408:
In his late period Tillim returned to narrative art, with images from popular culture—viz., movies, television, current events. These include
578:, Tillim stopped writing for commercial publication; when he resumed, fourteen years later, he free-lanced as an occasional contributor to
504:
1735:
369:
By the time figurative art became of interest in the art world, however, Tillim, once at the forefront of the trend, had returned to
1071:. A Symposium of the Poses Institute of Fine Arts. Brandeis University, Waltham, Mass., May 7, 1966. New York: October House, 1967.
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was editor. From 1958 to 1965 Tillim wrote as many as fifty exhibition reviews a month. Regardless, like the minimalist sculptor
726:, often away from home. (The childhood memory of his father's return after a six-month absence occasioned Tillim's 1979 painting
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1813:
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Another member of the Class of 1950 was the art critic Hilton Kramer. (The artist Sol LeWitt graduated Syracuse Class of 1949.)
950:. Intro. Lelde Muehlenbachs. The Edmonton Art Gallery, Alberta, 1976. Illus. ten figure drawings, including eight studies for
335:
342:, Vienna (Museum moderner Kunst Stiftung Ludwig Wien); the James A. Michener collection at the University of Texas; and the
1843:
1808:
281:, 1966 ("It’s me," Tillim said of the knuckles-down marble shooter, "conceiving we are the heroes of our own existence.");
674:
In addition to being an artist and writer, Tillim was an avid book collector. He compiled one collection on 19th-century
1828:
1823:
243:
Tillim had over twenty solo exhibitions and took part in many group shows throughout his career, from 22 Realists at the
1818:
687:
835:, et al. In addition, the Archive holds works on paper by other artists, among them the children's book illustrator
1088:. Essay Terry Fenton. The Edmonton Art Gallery, Alberta, 1973. Illus. seven b&w reproductions (including one of
998:. Halifax and New York: The Press of the Nova Scotia College of Art and Design and New York University Press, 1975.
376:
Tillim began the transition away from "straight" figurative art in 1979 by way of a Cubo-Expressionist style, as in
488:
718:
Sidney Tillim was the second of three children born to Norman and Anna Tillim (née Cohen), and was raised in an
1098:. Essay Uli Bohnen. Galerie Vorsetzen, Hamburg, 1993. Illus. nine b&w reproductions, sixteen color plates.
244:
1210:. The Picker Gallery, Colgate University, 1973. Illus. five b&w reproductions (including two drawings for
1803:
530:
1208:
A New History Painting by Sidney Tillim: The Reception of President-Elect Washington by the Women of Trenton
327:
1254:
by Sidney Tillim, Monterey, Calif.: Noel Young , in: "Short Reviews of Some of the Recent Poetry Books,"
1177:
Tillim, Sidney. "The Ideal and the Literal Sublime: Reflections on Painting and Photography in America."
1054:. Curators David A. Hanson and Sidney Tillim. Essay Sidney Tillim. Fairleigh Dickinson University, 1996.
410:
131:
Guggenheim Fellowship (painting), National Endowment for the Arts Grant, Pollock-Krasner Foundation Grant
574:, Tillim began to sense that criticism and the practice of painting were incompatible. After leaving
492:
972:
Hagen, Charles. "A Show of 5 Artists Who Use the Look of Photo Reproduction" (at Bennington College).
868:
500:
1040:
Perl, Jed, and Deborah Rosenthal. Exhibition review (Sidney Tillim at Meredith Long Contemporary).
815:(16 prints by 16 artists), published in 1991 by Juni-Verlag, Germany, with graphic work by Tillim,
679:
595:
334:. During these years his important narrative and representational paintings were acquired for the
289:, 1970 (a breakthrough for him, Tillim would say later, in producing a narrative with conviction);
252:
1771:
1466:, 1980, p. 43. For illustration of an additional work in this style, see Perl, Exhibition review.
801:
343:
828:
522:
347:
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for nearly three decades, from 1966 to 1994. At Bennington he became friends with the artist
1139:
John Adams Accepts the Retainer to Defend the British Soldiers Accused in the Boston Massacre
484:
453:
370:
259:
229:
1798:
1793:
1004:
Preface Amy Baker Sandback. Ann Arbor, Mich: UMI Research Press, 1984, p. 337. Illus.
363:
307:
263:
654:. In spring 1973 Tillim was appointed visiting Charles A. Dana Professor of Fine Arts at
247:
in 1970 and the 1972 Whitney Annual to the big 1992 Slow Art: Painting in New York Now at
8:
1690:
1624:
Tillim, "Criticism and Culture, or Greenberg’s Doubt." For illustration, see Wasserman,
1203:(Arts Yearbook 7). Ed. James R. Mellow. New York: The Art Digest, 1964, pp. 56–59.
746:
691:
434:
193:
848:
655:
643:
444:
What unites all his work is the postmodern combination of a deep affinity for ordinary
267:
1145:
Research Institute, among others. A CD of his lecture is held in the Tillim Archive.
957:
Genocchio, Benjamin. Exhibition review (Sidney Tillim at Suffolk Community College).
907:
Barnitz, Jacqueline. Exhibition review (Sidney Tillim at Robert Schoelkopf Gallery).
615:
526:
390:
206:
177:
140:
1225:. Curators David A. Hanson and Sidney Tillim. Fairleigh Dickinson University, 1996.
769:
are overt examples, while the titles of abstract works, such as the baseball-themed
1090:
The Reception of President-Elect Washington by the Women of Trenton, April 21, 1789
1060:. Essay Linda Nochlin. Vassar College, Poughkeepsie, NY, 1968, p. 43. Illus.
929:
Coleman, A. D. "Photographs in Ink, A Survey" (at Fairleigh Dickinson University).
890:. Curator James K. Monte. Whitney Museum of American Art, 1970, p. 55. Illus.
820:
804:. The extensive archive holds over fifty years of journals, drawings, and papers.
699:
660:
The Reception of President-Elect Washington by the Women of Trenton, April 21, 1789
461:
445:
291:
153:
876:
872:
867:(including several scarce posters: How Modern is The Museum of Modern Art? 1940,
852:
816:
723:
683:
457:
302:
296:, 1972 ("I am using an earlier 'race' conflict to comment on the present one.");
225:
255:, Sidney Tillim: A Life in Pictures (92 paintings, plus drawings and graphics).
1228:
Wasserman, Emily. Exhibition review (Sidney Tillim at Noah Goldowsky Gallery).
860:
651:
604:
538:
331:
189:
1787:
961:(Long Island), February 11, 2007, Arts and Entertainment, p. 14. Illus.
824:
757:, 1946. In college he was the sports editor for the campus monthly magazine,
733:
Tillim attended Maury High School, Norfolk, Virginia, 1939–43; served in the
663:
647:
639:
599:
563:
558:
381:
214:
185:
77:
58:
918:
Burton, Scott. Exhibition review (Sidney Tillim at Noah Goldowsky Gallery).
251:, and more. In 2002, a year after he died, Bennington College held a major
856:
840:
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832:
742:
738:
719:
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675:
449:
355:
313:
221:
184:, which also published his baseball drawings. (He claimed the cartoonists
164:, he is most identified with supporting representational art when few did.
235:
In 1953 Tillim returned to New York, where he would establish his career.
1687:
David A. Hanson Collection of the History of Photomechanical Reproduction
1166:. Intro. Margaret A. Miller. Univ. of South Florida, Tampa, 1980. Illus.
707:
703:
631:
567:
426:
321:
844:
612:
416:
324:
298:
1104:. Essay Barry Schwabsky. Trans Hudson Gallery, New York, 1997. Illus.
936:
Davis, Douglas. "Return of the Real" (22 Realists at Whitney Museum).
465:
30:
1777:
1011:
Mattick, Paul. "Sidney Tillim at Usdan Gallery, Bennington College."
859:; as well as a miscellany by various Bennington College art faculty (
789:
438:
273:
202:
198:
1667:
Hagen, "A Show of 5 Artists Who Use the Look of Photo Reproduction."
1022:"Neuer Realismus: Auf dem RĂĽckweg" (22 Realists at Whitney Museum).
722:
family. The Tillims kept a tavern in Norfolk, Va. His father was a
662:(destroyed 1996)—a painting prompted by the disgraced presidency of
529:
and the New Philistinism" (1966); "Gothic Parallels: Watercolor and
503:
for the Arts Grant. In Summer 1992 he was a Resident Artist at the
1126:. Trans Hudson Gallery, New York, 2001. Illus. eight color plates.
635:
611:
Before his death, Tilllim was gathering material for a book on the
548:, Tillim had been a prodigious reviewer and contributing editor at
534:
517:
301:
Accepts the Retainer to Defend the British Soldiers Accused in the
248:
173:
898:
1972 Annual Exhibition of Painting. Contemporary American Painting
330:
and by the Robert Schoelkopf Gallery, a showcase for contemporary
979:
Johnson, Ken. Exhibition review (Sidney Tillim at Trans Hudson).
750:
734:
594:. His last published piece, the photography exhibition review "
469:
210:
1780:
Manuscripts and Archives Division, The New York Public Library.
1654:
Tillim, "Bugs Bunny Meets the Sublime" . For illustration, see
1206:
Tillim, Sidney. "Notes on Narrative and History Painting." In:
1148:
Tillim, Sidney. "Criticism and Culture, or Greenberg’s Doubt."
1074:
Schwabsky, Barry. On Sidney Tillim, et al. In: "Studio View."
1280:
Mattick, "Sidney Tillim at Usdan Gallery, Bennington College."
1067:
Rose, Barbara, Michael Fried, Max Kozloff, and Sidney Tillim.
800:
In January 2018 the Sidney Tillim Archive was donated to the
496:
339:
1475:
Note, for example, the nearly twenty-year interval between
1214:). Reprinted with revisions and different illustrations in
900:. Whitney Museum of American Art, 1972, p. 61. Illus.
320:
In the sixties and seventies Tillim was represented by the
1736:"Sidney Tillim, 76, Art Critic And Historic Scene Painter"
986:
Judd, Donald. Exhibition review (Sidney Tillim at Cober).
755:
The History of Company A, 252nd Engineer Combat Battalion
354:(a series of paintings which Tillim based on the poem by
258:
Tillim's first solo show in New York took place in 1960 (
1759:
Letter from Philip Leider to Diane Tillim, October 2001.
1311:, April 20, 1969, p. C27. For illustration, see Burton,
270:
of personal, historical, and current events, among them
266:). It wasn't until the mid-sixties that he began large
1488:
For explication of these ideas, see Tillim, Essay, in:
686:
reproduction c.1840-1960 (800 objects, acquired by the
224:) and published a chapbook of poetry, about which the
783:
Paula Modersohn-Becker: The First Modern Woman Artist
358:, "Adam and Eve"). Another drawing for this series—
1221:Tillim, Sidney. "On Reproducing a Photograph." In:
1159:. Curator Sidney Tillim. Bennington College, 1992.
306:, 1974 (inspired by campus uprisings following the
1534:Sidney Tillim, Imprints & Brushworks 1989-1993
1199:Tillim, Sidney. "Notes of a New York Critic." In:
1096:Sidney Tillim, Imprints & Brushworks 1989-1993
1002:Looking Critically: 21 Years of Artforum Magazine.
141:http://www.dianearthistory.com/tillim-archive.html
1849:Skowhegan School of Painting and Sculpture alumni
1129:Siegel, Katy. "Sidney Tillim: Critical Realist."
847:(early figurative work), the contemporary artist
1785:
1641:, August 21, 2001, p. C14; and Phillip Lopate,
1379:. For illustration of the latter painting, see
537:and the New Picturesque" (1968); "A Variety of
346:, University of North Carolina Greensboro. The
176:, New York, in 1925, Sidney Tillim grew up in
423:Modern Crime, or The Death of Irene Silverman
1839:United States Army personnel of World War II
1676:See Coleman, "Photographs in Ink, A Survey."
1453:Letter to M. Baker, Univ. of Manitoba, 1985.
350:acquired a suite of thirty-one drawings for
167:
1585:Siegel, "Sidney Tillim: Critical Realist."
1133:, September 2003, pp. 208–11. Illus.
1102:Sidney Tillim New Paintings & Drawings
505:Skowhegan School of Painting and Sculpture
29:
1702:For illustration, see Tillim, Essay, in:
1645:, New York: Crown, 2004, dedication page.
1462:For illustration, see Tillim, Essay, in:
940:, February 23, 1970, p. 105. Illus.
855:" artist Henry Strater, and the sculptor
1715:Tillim, "Bugs Bunny Meets the Sublime" .
1604:Looking Critically: 21 Years of Artforum
1567:Tillim, "Bugs Bunny Meets the Sublime" .
1521:Sidney Tillim, Imprints & Brushworks
1510:Tillim, "Bugs Bunny Meets the Sublime" .
1361:Sidney Tillim, Imprints & Brushworks
1350:Tillim, "Bugs Bunny Meets the Sublime" .
1298:Tillim, “Bugs Bunny Meets the Sublime" .
1269:Sidney Tillim, Imprints & Brushworks
795:
480:—his "poignant moment of leave taking."
362:, 1970—is held in the collection of the
1733:
1188:, October 2001, pp. 43–45. Illus.
1026:, August 10, 1970, p. 111. Illus.
996:Donald Judd Complete Writings 1959-1975
933:, November/ December 1996, p. 42.
1786:
1643:Waterfront: A Journey Around Manhattan
1232:, Summer 1969, pp. 63–64. Illus.
902:Count Zinzendorf Spared by the Indians
192:as early influences.) Tillim went to
1615:Tillim, "Notes of a New York Critic."
1594:Letter to Diane Tillim, October 2001.
931:Photography in New York International
336:Hirshhorn Museum and Sculpture Garden
1194:The Departure of the Prince of Wales
1080:Approaching Majesty, Accepting Shame
1078:, February 1994, p. 29. Illus.
1015:, May 2003, pp. 152–53. Illus.
990:, November 1960, p. 56. Illus.
403:Approaching Majesty, Accepting Shame
1545:Schwabsky, On Sidney Tillim, et al.
1490:Photography Reproduction Production
1172:The Return of My Father from Alaska
1092:, 1973, oil on canvas, 80" x 64").
1035:Challenging Art: Artforum 1962-1974
777:, provide more allusive examples.)
728:The Return of My Father from Alaska
13:
1411:. For illustration, see Barnitz,
1044:, January 1980, p. 8. Illus.
922:, Summer 1969, p. 73. Illus.
688:San Francisco Museum of Modern Art
669:
478:Johnny Guitar, or To Stay or To Go
217:(especially in Mondrian's grids).
14:
1860:
1765:
1393:Lamentation (for Kate Houskeeper)
976:, May 18, 1992, pp. C13-14.
911:, March 1965, p. 57. Illus.
483:In painting Tillim was awarded a
464:—to the struggle and ambition of
287:Lamentation (for Kate Houskeeper)
1734:Johnson, Ken (August 20, 2001).
1184:Tillim, Sidney. "My New Sofa" .
510:
1778:Sidney Tillim papers, 1925-2001
1774:at the Archives of American Art
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1395:. See also "Neuer Realismus,"
1386:
1366:
1353:
1307:"Sidney Tillim's Fourth Show,"
1289:Judd, "Sidney Tillim at Cober."
1152:, May 1987, pp. 122–27ff.
882:
785:(Yale University Press, 2013).
489:National Endowment for the Arts
1834:20th-century American painters
1814:Artists from Norfolk, Virginia
1556:Sidney Tillim Recent Paintings
1344:
1331:
1318:
1301:
1292:
1283:
1274:
1261:
1244:
1124:Sidney Tillim Recent Paintings
1037:. New York: Soho Press, 2000.
875:Gallery; and The Store, 1961,
871:; The Intrasubjectives, 1949,
839:, the muralist and printmaker
245:Whitney Museum of American Art
1:
1501:Genocchio, Exhibition review.
1324:For illustration, see Davis,
1238:
1181:, May 1976, pp. 58–61.
1069:Art Criticism in the Sixties
602:, Jr.," appeared in 2000 in
115:Figurative Art, Abstract Art
7:
1844:United States Army soldiers
1809:Painters from New York City
1576:Johnson, Exhibition review.
1258:, September 7, 1952, p. 21.
1252:Those Days and Then the Sea
1162:Tillim, Sidney. Essay. In:
1155:Tillim, Sidney. Essay. In:
713:
625:
570:, who was his colleague at
238:
10:
1865:
1829:Syracuse University alumni
1824:Bennington College faculty
1637:Jules Olitski, "Tillim" ,
1234:Who Among Us Really Knows?
1114:Remembering Representation
620:Who Among Us Really Knows?
533:in American Art" (1967); "
493:Pollock-Krasner Foundation
1819:American abstract artists
1442:Drawings by Sidney Tillim
1427:. For illustration, see
1192:, untitled abstraction ,
948:Drawings by Sidney Tillim
869:American Abstract Artists
501:Ingram Merrill Foundation
135:
127:
119:
111:
101:
93:
85:
66:
44:
28:
21:
680:Arizona State University
596:William Henry Fox Talbot
397:a unique copy in fact."
253:retrospective exhibition
168:Early life and education
1554:For illustrations, see
1440:For illustrations, see
1256:San Francisco Chronicle
1201:New York: The Art World
983:, May 4, 2001, p. E33.
802:New York Public Library
344:Weatherspoon Art Museum
182:Norfolk Ledger-Dispatch
1704:Realism & Metaphor
1464:Realism & Metaphor
1359:For illustration, see
1339:1972 Annual Exhibition
1337:For illustration, see
1190:David Cone’s No-Hitter
1164:Realism & Metaphor
1046:Murder Hollywood Style
829:Mierle Laderman Ukeles
788:Sidney Tillim died in
767:David Cone's No Hitter
523:Abstract Expressionism
348:Art Gallery of Alberta
260:geometric abstractions
1409:Work Jacket on Tripod
913:Work Jacket on Tripod
796:Sidney Tillim Archive
485:Guggenheim Fellowship
472:,' it's not for me."
454:Piero della Francesca
371:hard-edge abstraction
338:, Washington, D.C.;
294:Spared by the Indians
277:, 1965 (unfinished);
230:Lawrence Ferlinghetti
1804:American art critics
1689:was acquired by The
1076:The New Art Examiner
792:on August 16, 2001.
364:Museum of Modern Art
308:Kent State shootings
264:representational art
123:Diane Radycki Tillim
35:Sidney Tillim, with
1691:Clark Art Institute
1425:Sink and Burlap Bag
1168:An American Tragedy
1062:Sink and Burlap Bag
942:The Death of a Girl
747:Syracuse University
692:Richard Artschwager
658:, where he debuted
378:An American Tragedy
268:narrative paintings
194:Syracuse University
97:Syracuse University
1250:Lawrence Ferling,
1223:Photographs in Ink
1052:Photographs in Ink
1028:Tod eines Mädchens
771:Carucci's Dominion
656:Colgate University
644:Bennington College
1135:Diderot in Hawaii
1017:Diderot in Hawaii
843:, the minimalist
775:Ducks on the Pond
745:); then attended
682:) and another on
616:Clement Greenberg
544:Before moving to
527:Philip Pearlstein
391:postmodernist art
207:Wassily Kandinsky
178:Norfolk, Virginia
147:
146:
107:History paintings
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1212:The Reception...
1006:A Dream of Being
924:A Dream of Being
821:Joseph Nechvatal
700:Joseph Nechvatal
499:Fellowship, and
462:Giovanni Bellini
446:American culture
292:Count Zinzendorf
283:A Dream of Being
154:history painting
139:Tillim Archive (
104:
73:
54:
52:
33:
19:
18:
16:American painter
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1245:
1241:
994:. Reprinted in
885:
877:Claes Oldenburg
873:Samuel M. Kootz
853:lost generation
817:Rudy Burckhardt
798:
724:merchant marine
720:Orthodox Jewish
716:
684:photomechanical
672:
670:Book collecting
650:and the writer
628:
513:
458:Andrea Mantegna
441:), and others.
411:American Beauty
328:Richard Bellamy
312:The Capture of
303:Boston Massacre
241:
226:Beat Generation
170:
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81:
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70:August 16, 2001
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1766:External links
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1740:New York Times
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1706:, 1980, p. 43.
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1639:New York Times
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1196:(watercolor).
1186:Art in America
1150:Art in America
1110:Making the Cut
1013:Art in America
992:Fifth Painting
981:New York Times
974:New York Times
959:New York Times
884:
881:
861:Kenneth Noland
797:
794:
715:
712:
671:
668:
652:Phillip Lopate
630:Tillim taught
627:
624:
605:Art in America
584:Art in America
580:American Craft
512:
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437:and the model
380:(the novelist
332:figurative art
240:
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190:Willard Mullin
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736:
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681:
678:(acquired by
677:
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664:Richard Nixon
661:
657:
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649:
648:Jules Olitski
645:
641:
640:art criticism
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600:Hans P. Kraus
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215:Piet Mondrian
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186:Milton Caniff
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162:Arts Magazine
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150:Sidney Tillim
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59:New York City
55:June 16, 1925
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43:
38:
32:
27:
23:Sidney Tillim
20:
1755:
1743:. Retrieved
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1218:, May 1977.
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1118:Yes and Noir
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973:
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967:Fast Shuffle
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891:
887:
886:
883:Bibliography
865:
857:Isaac Witkin
841:Richard Haas
837:Marcia Brown
833:Hannah Wilke
812:
810:
806:
799:
787:
782:
779:
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766:
762:
758:
754:
743:Purple Heart
739:World War II
732:
727:
717:
696:Ellen Brooks
676:American art
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549:
545:
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516:
514:
482:
477:
474:
450:Fra Angelico
443:
433:(the rapper
430:
422:
419:'s No-Hitter
415:
409:
407:
402:
399:
395:
387:
377:
375:
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359:
356:Karl Shapiro
351:
319:
314:Patty Hearst
311:
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257:
242:
234:
222:abstractions
219:
181:
171:
161:
157:
149:
148:
103:Notable work
72:(2001-08-16)
36:
1799:2001 deaths
1794:1925 births
1429:Realsim Now
1397:Der Spiegel
1381:22 Realists
1058:Realism Now
1024:Der Spiegel
952:Eden Retold
888:22 Realists
741:, 1943-46 (
708:Andy Warhol
704:Mark Tansey
632:art history
568:Donald Judd
550:Arts Digest
525:" (1965); "
427:Sante Kimes
352:Eden Retold
322:avant-garde
86:Nationality
37:Lamentation
1788:Categories
1239:References
963:Television
845:Sol LeWitt
613:art critic
541:" (1969).
535:Earthworks
435:Foxy Brown
417:David Cone
325:art dealer
299:John Adams
80:, New York
61:, New York
51:1925-06-16
1745:March 17,
849:Tom Sachs
790:Manhattan
759:Syracusan
507:, Maine.
439:Kate Moss
431:The Women
274:Malcolm X
203:Paul Klee
199:Ben Shahn
94:Education
1626:Artforum
1373:Champion
1326:Newsweek
1313:Art News
1230:Artforum
1216:Artforum
1179:Artforum
1131:Artforum
938:Newsweek
920:Art News
813:New York
763:Champion
714:Personal
636:painting
626:Teaching
588:Artforum
576:Artforum
562:, where
546:Artforum
539:Realisms
531:Luminism
518:Artforum
360:The Song
317:, 1978.
279:Champion
249:MoMA PS1
239:Painting
174:Brooklyn
172:Born in
158:Artforum
112:Movement
89:American
1658:, 1973.
1558:, 2001.
1492:, 1992.
1444:, 1976.
1431:, 1968.
1383:, 1970.
1271:, 1993.
851:, the "
751:GI Bill
749:on the
735:US Army
495:Grant,
491:Grant,
470:kitschy
466:CĂ©zanne
310:); and
211:Cubists
136:Website
1106:Colors
638:, and
590:, and
213:, and
209:, the
128:Awards
120:Spouse
39:, 1970
497:Yaddo
340:Mumok
228:poet
1747:2017
1685:The
988:Arts
773:and
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592:Arts
572:Arts
554:Arts
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143:)
53:)
49:(
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