Grant Recipients Grants to Artists Visual Arts 2021

Amie Siegel

A portrait of Amie Siegel, dressed in a white collared shirt with long brown hair. The artist looking downwards stands in front of a desk with multiple artist materials.
Photo by Grant Delin.
  • Artist
  • Born 1974, Chicago, IL
  • Lives in Brooklyn, NY
  •  
  • Additional Information
  • amiesiegel.net

The FCA Grants to Artists Award was (and continues to be) so utterly different than any support I have received partly because the award was so unexpected, but especially because it did not dictate how its funds were to be spent. I could use the support as needed over time, to address production budget shortfalls and studio needs (new software, hiring help, etc.), yet also simply use the support to exist—to live and eat and keep the lights and wifi on, which in turn made possible the continued production of my work.

- Amie Siegel, December 14, 2021

Biography

Amie Siegel is a visual artist who works with film, video, photography, sculpture, painting, performance, and installation. She is known for her layered, meticulously constructed works that trace the undercurrents of systems of value, cultural ownership, and image-making.

Her solo exhibitions include: Medium Cool, Blaffer Art Museum, Houston, TX (2019); Provenance, Tate St. Ives, Cornwall, United Kingdom (2018); Winter, Guggenheim Museum Bilbao, Bilbao, Spain (2017); Strata, South London Gallery, London, United Kingdom (2017); 12x12: Amie Siegel, Berlinische Galerie, Berlin, Germany (2017); Interiors, Frye Art Museum, Seattle, WA (2017); Quarry, Audain Art Museum, Vancouver, Canada (2017); Double Negative, Museum Villa Stuck, Munich, Germany (2016); Amie Siegel. Part 2: Ricochet, Kunstmuseum Stuttgart, Stuttgart, Germany (2016); Imitation of Life, Temple Bar Gallery + Studios, Dublin, Ireland (2016); Provenance, Museum für angewandte Kunst, Vienna, Austria (2015); The Architects, Storefront for Art and Architecture, New York, NY (2015); Provenance, The Metropolitan Museum of Art, New York, NY (2014); and Amie Siegel. Part 1: Black Moon, Kunstmuseum Stuttgart, Stuttgart, Germany (2011).

Siegel has participated in numerous group exhibitions including at the Institute of Modern Art, Brisbane, Australia; CAPC Musée d’Art Contemporain, Bordeaux, France; Centro Andaluz de Arte Contemporáneo, Seville, Spain; Museum of Contemporary Art and Design, Manila, Philippines; Kunstinstituut Melly, Rotterdam, Netherlands; Swiss Institute, New York, NY; Vancouver Art Gallery, Vancouver, Canada; Haus der Kulturen der Welt, Berlin, Germany; The Glucksman, Cork, Ireland; Dunedin Public Art Gallery, Dunedin, New Zealand; MAXXI Museo Nazionale della arti del XXI secolo, Rome, Italy; Seattle Art Museum, Seattle, WA; Wattis Institute for Contemporary Arts, San Francisco, CA; Museum of Contemporary Art, San Diego, CA; Chapter, Cardiff, United Kingdom; Institute for Contemporary Art, Boston, MA; Walker Art Center, Minneapolis, MN; MoMA PS1, Long Island City, NY; Monash University Museum of Art, Melbourne, Australia; Hordaland Kunstsenter, Bergen, Norway; La Galerie, Centre d’Art Contemporain, Noisy-le-Sec, France; Hayward Gallery, London, United Kingdom; Leeds Art Gallery, Leeds, United Kingdom; and CA2M Centro de Arte Dos de Mayo, Madrid, Spain.

Her work has been featured in the 12th Gwangju Biennial, South Korea (2018); Dhaka Art Summit, Bangladesh (2018); Glasgow International, Scotland (2016); the 5th Auckland Triennial, New Zealand (2013); and the Whitney Biennial, New York, NY (2008). Her films have screened at the Rotterdam, Toronto, Berlin, New York, and Cannes International Film Festivals. Siegel has been a fellow of the DAAD Berliner-Künstlerprogramm, a John Simon Guggenheim Memorial Foundation Fellow, the Fulton Fellow at The Film Study Center at Harvard University, a Sundance Institute Fellow, and a Smithsonian Artist Research Fellow. She has received the ICA Boston's James and Audrey Foster Prize, a Creative Capital Award, and an Anonymous Was A Woman Award.

Artist Statement

Not faithful to any singular material, format, or discipline, I remain deeply engaged by the spectrum of seemingly autonomous mediums, sensitive to their alluring or banal properties, harnessing their social, historical, and iconographic connotations to deploy in my work.

These works often trace materials—furniture, rarified marble, images—as well as objects, collections, artifacts, architecture, and design, peeling back the strata of cultural patrimony and patriarchy, the real and the simulated.

I took to heart early Russian filmmaker Sergei Eisenstein’s suggestive sentiment that montage is “copulative”—two shots come together to form a third thing, but the third thing is not onscreen. Nor is it an object. It is an idea. It is conceptual. It forms in us.

- December 2020

On a wall the projection of a red terrace with the sea stands behind a small screen showing a figure in a bare room with their hands upwards.

Installation view of The Noon Complex, three-channel HD video installation, color/sound, at Thomas Dane Gallery, London, United Kingdom, 2016. Photo by Luke A. Walker; courtesy of the artist and Thomas Dane Gallery.

A canvas hanged by the ceiling depicts a white swan on a black environment, behind it is projected from the left a a black swan in a gray environment.

Installation view of Double Negative, two synchronized 16mm films, b/w, silent, HD video, color/sound, at Museum Villa Stuck, Munich, Germany, 2016. Photo by Jann Averwerser; courtesy of the artist and Thomas Dane Gallery.

A projection of a figure sitting in cylinder gap in a wall, is surrounded by carpets of flowery design and people sitting on around them with various musical instruments. Cables cross the middle of the room.

Installation view of Winter, S-16mm film transferred to HD, 33 minutes, color/sound, performance, at Guggenheim Bilbao, Bilbao, Spain, 2013. Photo courtesy of the artist and Thomas Dane Gallery.

A peachy colored marbled rock sits above a white stand surrounded by glass. In the center behind it on the wall is a print of a black background with two prints similar in color and pattern to the rock divided in the middle.

Installation view of Dynasty, marble fragment, archival pigment print, two chromogenic prints, and vinyl wall text, at CAPC Museum of Contemporary Art of Bordeaux, Bordeaux, France, 2017. Photo courtesy of the artist and Thomas Dane Gallery.

Three framed texts on a wall are partly blacked out with a blue color.

Body Scripts, pages 241-243, 2016, gouache on paper, three of 34 framed pages, 8"x 11" each. Photo courtesy of the artist and Thomas Dane Gallery

A projection on a black wall shows a cubed black marbled rock against a rock wall.

Installation view of Quarry, HD video, color/sound, at South London Gallery, London, United Kingdom, 2015. Photo by Andy Stagg; courtesy of the artist and Thomas Dane Gallery.

A projection of a room with white walls outlined with gold. In the middle sits a fireplace with a black and white marbled design, next to it is a low chair.

Installation view of Provenance, HD video, color/sound, at The Metropolitan Museum of Art, New York, 2013. Photo by Eileen Travell; courtesy of the artist and Thomas Dane Gallery.

A photograph of a suburban area with a a black cirlce covering the left half of the image.

Black Moon/Hole Punch #6, 2010, one in a series of fifteen Cibachrome prints, 13.5"x 24" each. Photo courtesy of the artist and Thomas Dane Gallery

Two project installation on two walls. The one on the left depicts apartment buildings with cars in their front streets, the one on the right shows a couple in black and white film holding hands and standing in front of ruins.

Installation view of Berlin Remake, two-channel video installation, color/sound, at Museum Villa Stuck, Munich, Germany,2005. Photo by Jann Averwerser ;courtesy of the artist and Thomas Dane Gallery.

A gallery space of white walls holds on its right a black canvas with white grainy ombre lines. In the left sit two smaller beige and black canvases with the same white grainy effect.

Installation view of Marble Dust Paintings, marble dust on raw linen and duvetyne, dimensions variable, at Blaffer Art Museum, Houston, TX, 2019. Photo courtesy of the artist and Thomas Dane Gallery.