Amy Sillman’s new suite of paintings at Capitain Petzel are large and spatial, with an airiness well-suited to the glass paneled façade of her new Berlin gallery. Sillman’s latest canvasses still have the brute gestural force of a paint-conjured “id,” but also possess a kind of nimbleness and play alluded to in the exhibition’s title, Thumb Cinema.  Her palette is quiet, with lavender and forest[.....]

Amy Sillman’s highly publicized split from abstraction may not be quite as dramatic as she made it sound in her sassy breakup letter on Bomblog in 2009.  To her credit, she was never a card-carrying member of the High Church of Abstraction anyway. I think some of the works in Transformer (or how many lightbulbs does it take to change a painting?), her current show[.....]