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| J.Silver in studio, 1983 |
“Silver’s sculpture is steeped in classical and religious myth. It is assembled, however, with a keen sense of modernist history, in particular, of the formal and psychological implications of Cubism and Surrealism. In Silver’s work, myth is not quiet and controllable, but something that grows and evolves on its own and obliges mere mortals to flail away in its wake.” (Michael Brenson, 1984, The New York Times)
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| Barbarian killing his wife, 1985 |
Jonathan Silver was born in New York City in 1937. He decided not to go to high school, preferring to be educated by tutors at home. He received a B.S. degree in general studies from Columbia University and later enrolled in the Art History Ph.D. program under the famed historian, Meyer Schapiro. Schapiro was impressed by Silver’s intellectual prowess and supported his dissertation on Giacometti. Silver, however, started making sculpture seriously in the late 1960’s and never completed his doctorate. As a Columbia student, he drew in Peter Agostini’s class between 1960 and 1966, where he met future colleagues Christopher Cairns and Bruce Gagnier in 1965.
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| head, 1974, plaster |
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| head, 1975, plaster |
During the 1970’s Silver worked alongside Cairns, collaborating on ideas for heads and figures. The two approached their work with the ambition and stamina of scientists tackling big questions, in it for the long haul; it was clear they neither expected, nor were interested in, quick or dramatically “personalized” solutions. Cairns and Silver developed a common method of assembling and reassembling, or embedding fragments of one head or figure into another, thus creating new works. The sculpture produced during this period was shown by Silver and Cairns at the 4x10 Gallery in New York in 1976. The same year they showed at Haverford College’s Comfort Gallery with their fellow alumnus from Agostini’s class, Bruce Gagnier. Cairns and Silver also exhibited together at the Weatherspoon Gallery in Greensboro, NC, in 1978, and at the New York Studio School in 1979.
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| Agamemnon, 1977, mixed media |
Silver began working on larger figures in the early 80’s. Abounding with classical, mythical and art historical references, these ambitious works further developed the method of combining and recombining elements from several different pieces. Elaborately constructed, they often included found objects or sections of the plaster molds themselves. Wounded Amazon, which is in the Walker Art Center Sculpture Garden, dates from this period. Silver liked to say his work “tended towards the Greco-Oriental.”
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| Wounded Amazon, 1984, plaster |
A visit to the Medici Chapel while traveling in Italy with Cairns in 1982 was formative. Silver began experimenting with placing groups of figures together in a room, leading to his Room Dedicated to Septimius Severus, exhibited with other large pieces at the Gruenbaum Gallery in Soho in 1985. Shows at the Victoria Munroe Gallery followed in the early 1990’s.
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| Chapel of Septimius Severus, 1985-86 |
During the last seven years of his life, Silver worked on rooms of sculpture, including the Lower Room installed at the Sculpture Center in 1990. Consisting of a dramatic ensemble of figures evoking the disabling effects of memory and aging, the room was filled with figures seized by uncontrollable and incomprehensible forces. Silver’s late works were often scenes of torment or rage, where the expressionistic surface treatment contributed to their high emotional pitch.
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| The Lower Room, 1989, mixed media |
“Silver’s figures are survivors. They are vulnerable, yet unalterable, sacrificial, yet in command. Violence has been done to them, but through their statuesque power, or through the force of their will or rage, they retain the ability to avenge or punish, and to impose themselves on their situations.” (Michael Brenson, 1995)
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| Birth of Venus, 1985-86 |
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| Chance, 1987-1990, plaster |
Silver spent his entire life drawing from the model. He would stand at an easel, drawing with a number 2 pencil, making small, exquisitely constructed figure drawings. He also drew incessantly while watching television.
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| head, 1977, mixed media |
To support himself, Silver taught Art History at Montclair State College in Montclair, NJ. Noreen Sanders, a student of his in the late 70’s, wrote in an email, "In class, he would walk up on the stage, in front of the screen and directly into the paintings he put in the slide projector… talking passionately about the piece (good or bad) – smoking Kool cigarettes with his saggy-ass jeans and bits of plaster stuck in his hair. He would assign novels from the same time period. Before class, you could catch him playing piano – some Schubert piece or other. Or he’d recite poetry. For me, the work came alive."
Silver was a frequent lecturer and visiting critic at the New York Studio School and at Haverford College, where he had a profound influence on students for over twenty years, inspiring those who worked closely with him by his penetrating intelligence, erudition and aesthetic probity and his willingness to share his perceptions. Silver wrote and published extensively on art historical topics. His articles on Giacometti and David Smith were published by ArtNews.
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| The New Gretchen, 1991 |
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