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The Los Angeles Municipal Art Gallery is presenting a retrospective of artist Susan Silton’s work across four decades and multiple media. The exhibition includes The Whistling Project, an ongoing body of work about vocal expression, alongside projects engaging with identity, illness and the environment.
The Los Angeles Municipal Art Gallery is presenting a retrospective of Susan Silton’s four-decade career, bringing together work on queerness, illness, the environment and the politics of expression. The exhibition includes The Whistling Project, an ongoing series that considers the meaning of vocal expression, as well as prints, photographs, video, installations and performance work.
Hyperallergic’s review describes Silton as a conceptual artist whose practice crosses media and often involves collaboration and audience participation. The exhibition traces how she has examined the categories people use to define one another, and the social and political forces behind those categories. The source material identifies no single work as the exhibition’s focus; instead, it presents the show as a survey of varied projects developed over decades.
One early work in the review is Target (1991), a serigraph made after Silton was already established as a graphic designer. It places labels for gender, nationality and sexual orientation over an image of a man with a target on his back. Hyperallergic interprets the print as a critique of reducing people to identity labels rather than recognizing their shared humanity.
Other works use image-making to question fixed identities. In Self Portrait #4 (1995), Silton moved her face across an active scanner, distorting its appearance. The Aviate series (1998–2000) similarly transformed scanned illustrations of birds into colorful linear abstractions. The exhibition also includes Silver Whistles (2012), six silver-plated bronze masks from The Whistling Project, which began in 2010 and is described as ongoing.
How Silton Uses Voice and Identity
The retrospective places work about identity and vocal expression within a broader practice rather than treating either as a single subject. Its range—from a political print to altered self-portraits, bird imagery and sculptural masks—shows how Silton has approached social categories through different materials and methods. For visitors, the exhibition offers a chance to see those concerns develop across a career spanning four decades.
The Whistling Project adds a participatory dimension to that survey. The review identifies the project with the politics of vocal expression, while the masks suggest a material component to the work. The available account does not describe how visitors take part or what specific conclusions the project advances, so its importance here is best understood as part of the exhibition’s wider inquiry into how people communicate and are perceived.
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From Target to Whistling Project
Silton’s works in the review span several decades. Target dates to 1991; the scanner-based Self Portrait #4 followed in 1995; and Aviate was made between 1998 and 2000. These works use visual transformation to address how identity is assigned, represented or allowed to change.
The Whistling Project began in 2010 and is listed as ongoing. The review identifies Silver Whistles (2012) as a group of six silver-plated bronze masks from that project. Together, the dates give the exhibition a timeline from Silton’s early 1990s print work to a project that continues beyond its first decade.
“Silton’s four-decade retrospective”
— Hyperallergic’s review
Exhibition Details Not Provided
The available source does not give the exhibition’s opening date, closing date or full checklist. It also does not state whether all the works named in the review are on view for the entire run. The account describes The Whistling Project as ongoing, but does not specify its current activities, how audiences participate, or whether the exhibition includes newly made work.
The source is an art review, not an announcement from the gallery, and it does not provide a statement from Silton or gallery staff about the exhibition’s plans. Those details should not be inferred from the works and dates discussed in the review.
The Gallery Exhibition Continues
The confirmed development is the presentation of the retrospective at the Los Angeles Municipal Art Gallery. The source material gives no future programming, public event schedule or closing date, so no next exhibition milestone can be stated from the available information.
Readers seeking practical details, including visiting hours and the final day, will need to check the gallery’s current listings. Further information about the exhibition’s selection of works or any related events would clarify how the survey is being presented to visitors.
Key Questions
Where is Susan Silton’s retrospective being shown?
It is being presented at the Los Angeles Municipal Art Gallery, according to Hyperallergic’s review.
What is The Whistling Project?
It is an ongoing project that began in 2010. The review connects it to the politics of vocal expression and identifies Silver Whistles (2012), a group of six silver-plated bronze masks, as work from the project.
What subjects does the exhibition cover?
The retrospective surveys work engaging with queerness, illness, the environment and the politics surrounding those subjects, using print, photography, video, installation and performance.
Which works are discussed in the review?
The review discusses Target (1991), Self Portrait #4 (1995), the Aviate series (1998–2000) and Silver Whistles (2012), among other work in Silton’s practice.
How long will the exhibition be open?
The source material does not provide opening or closing dates. Check the Los Angeles Municipal Art Gallery’s current listings for visiting information.
Source: hyperallergic.com
