Since the early 1990’s Jeanne Silverthorne has been exploring the image of the studio as a place of ruin and collapse. Excavating this site includes inventorying its physical infrastructure, its processes and its products. Exit with Fan is one such extraction: a rubber copy of studio wiring and signage is coupled with a limp motor and fan to create a tableau of dead-ended exhaustion. Still and Moving features key-hole sized photographs and videos alluding to the haunted architecture of the studio as well as to the materials used there, the artifacts made and destroyed, the aspirations and disappointments and the consumption of energy housed therein. Some of these videos are original footage, some are found but altered, such as Alphawordless , an edited and soundless clip from Jean Luc Goddard’s landmark film.

In this archaeology of the studio , extinct or ancient genres, such as the floral painting, the still life and the portrait are exhumed as well. They are infected with signs of decay, morbid excess and toxicity, as indicated by the extensive use of phosphorescent pigment and the invasion of rubber insects and weeds. Nature literally forces itself through the cracks of the studio floor in the form of wild grasses and dandelions.

The sculptures presented here are cast rubber, a material inherently de-formalizing– floppy, deliquescent–and in that sense entropic. But rubber has also a humorous aspect, a comic lack of backbone and silliness offsetting morbidity and perhaps reflecting the irrepressibility of the life force, if only at the level of weed and insect.


Einzelausstellungen (Ausstellung)

More Flesh and Bone, University of Kentucky Art Museum, Lexington, KY, Marc Strauss, New York
What is Real?, Deutsches Generalkonsulat, New York

Marc Straus, New York

The Rose is Obsolete, Galerie Zimmermann Kratochwill, Graz

Down the Hole and into the Grain, Shoshana Wayne Gallery, Santa Monica, CA

Intersections: Jeanne Silverthorne Vanitas!, Phillips Collection, Washington, D.C.
Little Big, New Galerie de France, Paris

Peripheral Vision, McKee Gallery, New York

Jeanne Silverthorne, McKee Gallery, New York

Seomi Gallery, Seoul, Korea
Burning DNA, Butler Museum, Kilkenny Castle, Kilkenny, Irland
Woodruff Center for the Arts,Atlanta, Georgia,Project Room.

Jeanne Silverthorne: New Work 1998-2000, McKee Gallery, New York

Paule Anglim Gallery, San Francisco, CA

Jeanne Silverthorne: New Work 1998-2000, McKee Gallery, New York

Institute of Contemporary Art,Philadelphia, PA, Februar, 1996.

McKee Gallery, New York, Mai, 2003,April, 2000, März, 1997, September, 1994.
Shoshana Wayne Gallery, Santa Monica, CA, September, 2005,Februar, 2002, Februar, 1998.
Paule Anglim Gallery, San Francisco, CA, September, 2002, Mai, 1995.
Whitney Museum at Altria, New York, 1999.
Studio La Citta, Verona, Italien, 1995.
Nathalie Obadia Gallery, Paris, März, 1999, Dezember, 1994.
Rocca Paolina, Perugia, Italien, 1996. Wright Museum of Art, Beloit, WI, ten-year survey, 1998.

Christine Burgin Gallery, New York, Juni, 1990PS 1, Long Island City, New York, Oktober, 1982.

Gruppenausstellungen  (Auswahl)


Edition #o1, Galerie Zimmermann Kratochwill


Salon 2017, Shoshana Wayne Gallery, Santa Monica, CA, The White Heat – Marc Straus, New York City, NY
Where are we going, Galerie Zimmermann Kratochwill, Graz

Forget-Me-Not – Künstlerische Ansätze Gegen Das Vergessen, Galerie Zimmermann Kratochwill, Graz
People, Places, Things, Tracy Williams, Ltd, New York City, NY
Defining Sculpture, Albright Knox Museum, New York, curated by Doug Dreishpoon
A Weed is a Plant Out of Place, Lismore Castle, Lismore Co., Waterford, Ireland, curated by Allegra Pesenti
Don’t Panic; It’s Organic, Zimmerman Kratochwill Gallery, Graz, Austria

Paule Anglim – Retrospective, Gallery Paule Anglim, San Francisco, CA
4 Sculptor, McKee Gallery, New York City, NY

Spring Group Show, McKee Gallery, New York City, NY
Aspects of the Self: Portraits of Our Times, Center for the Arts at Virginia Tech, Blacksburg
Winter Group Show, McKee Gallery, New York City, NY

Its Surreal Thing: The Temptation of Objects, Sheldon Museum of Art, Lincoln, NE
Skin Trade An In-depth Look At The Surface Of Things, PPOW, New York City, NY
Gravity of Sculpture: Part II, Dorsky Gallery Curatorial Programs (DGCP), New York City, NY
Skin, Royal Hibernian Academy, Dublin

Living in Art & Design, Gallery Seomi, Seoul
Cerebral Spirits: Stalking the Self University Galleries at the Ben Shahn Center for Visual Arts, William Paterson University, Wayne, NJ
Video<>object, Dorsky Gallery Curatorial Programs (DGCP), New York City, NY

Burning Bright, Pace Gallery, Oktober

SCULPTURE, McKee Gallery, New York City, NY

About Us, Boulder Museum of Contemporary Art, Boulder, CO
Dead Center / Marginal Notes: Peter Downsbrough / Jeanne Silverthorne, Western Exhibitions, Chicago, IL

Summer Group Show, McKee Gallery, New York City, NY
Small Bodies, McKee Gallery, New York City, NY
Gems from the Collection, The Castle, Kilkenny

Against the Grain, Museum of Modern Art, New York
Materials, Metaphors, Narratives: Work by Six Contemporary Artists—Petah Coyne, Lesley Dill, Ken Price, Tom Sachs, Jeanne 

Silverthorne, Fred Tomaselli, Albright-Knox Museum, Buffalo, NY, Oktober, 2003 – Jänner

Chain Reaction, Williams College Museum, Massachusetts, Tang Museum, New York, 2001-2002.
Aquaria, Landesgalerie am Oberösterrreichischen Landesmuseum, Linz, Kunstsammlungen, Chemnitz, 2002.
Skin, Deste Foundation, Athen, Griechenland, 1999.

Unprivileged Spaces, Boras Konstmuseum, Bildmuseet, Umea, und Edsvik Konstock Kultur, Sollentuna, Schweden

Deep Storage, München, Berlin, New York, Seattle, 1997-98.
Rubber, Robert Miller Gallery, New York

Gothic, ICA Boston

Configura, Dialog der Kulturen, Erfurt

Vertigo, Thaddeus Ropac Gallery, Paris


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