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Creator Information


Shelly Silver

Country(activity based):
United States
Visual Art


Final educational background:
Whitney Museum Independent Studio Program(1981)
BFA, Cornell University College of Art, Architecture & Planning (1980)
BA, Intellectual History, College Scholar, Phi Beta Kappa, Cornell University(1980)

Recent 5 main activities (personal exhibitions, group exhibitions, concerts) are
-"A Strange New Beauty", solo screening, Arsenal Kino, Berlin, 2017
-"in complete world, What is Citizenship Today", solo screening, Whitney Museum of American Art, New York, 2016
-"In Between, Shelly Silver Retrospective", solo, Cinéma du Réel, Centre Pompidou, Paris, 2015
-"Hommage, Shelly Silver", solo retrospective, DokLeipzig, Leipzig, 2014
-"Stories, Cities, Makeshift Structures", solo, Slought Foundation, Philadelphia, 2016

Other activities (including awards received) are
-Bogliasco Foundation Fellow, Italy, 2018
-Film Feld Forschung/Film Field Research Residency, Silent Green Kulturquartier, Berlin, Germany, 2017
-Best Experimental Short Film, Outfest, Los Angeles, 2015

I am a New York based artist and educator working primarily with the still and moving image. I explore shifting territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched.

About works / performance

Shelly Silver_A Strange New Beauty.png
A Strange New Beauty, 2017, 50:00
Shelly Silver_A Strange New Beauty_2.png
A Strange New Beauty, 2017, 50:00
Shelly Silver_TOUCH.png
TOUCH, 2013, 68:00
Shelly Silver_TOUCH_2.png
TOUCH, 2013, 68:00
Shelly Silver_The Lamps.png
The Lamps, 2015, 4:14
Shelly Silver_The Lamps_2.png
The Lamps, 2015, 4:14


To watch the moving-image art of Shelly Silver is to understand that, among other messy civic values on which democracies rely—free access to public space, for instance, and a willingness to transgress comfort zones - democracy relies on empathy. And empathy relies on fantasy, and fantasy is always partial, entwined with misperception, unpredictable, perverse. “Being-for-others,” in Silver’s feminist sense, amounts less to the alienating instrumentalization of the individual by a masterful observer, and more to the feeling that civic space is a matrix of hallways, doorways, rooms and streets, glimpses and confrontations, in which to see is to acknowledge and co-create, because everyone is looking all the time. Frances Richard