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The Los Angeles Municipal Art Gallery is presenting a retrospective of conceptual artist Susan Silton’s work across four decades. The exhibition includes her print, photography, video, installation and performance projects, among them The Whistling Project, which examines vocal expression. The supplied report does not give the exhibition’s dates or a detailed account of its contents.
The Los Angeles Municipal Art Gallery is presenting a retrospective of artist Susan Silton’s four-decade career, bringing together work on queerness, illness, the environment and the politics of vocal expression. The exhibition includes The Whistling Project, an ongoing body of work that uses whistles to examine how voices are heard and understood.
Silton works across printmaking, photography, video, installation and performance. Hyperallergic’s review describes her practice as conceptual and often collaborative or participatory, with an emphasis on inclusivity and community engagement. The retrospective follows the development of those concerns over several decades rather than focusing on a single medium or theme.
Among the earlier works discussed in the review is Target (1991), a serigraph made after Silton had established herself 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. The review reads the print as a criticism of reducing people to identity categories instead of recognizing their shared humanity.
Silton’s later projects also use image-making to question fixed categories. In Self Portrait #4 (1995), she moved her face across an active scanner, distorting its appearance. She later manipulated early 20th-century bird illustrations for Aviate (1998–2000). The exhibition also includes Silver Whistles (2012), a group of six silver-plated bronze masks from The Whistling Project (2010–ongoing), which the review identifies as a work about vocal expression.
How Silton Makes Voice Visible
The retrospective brings together works that approach identity and expression through different forms, from a politically charged print to altered self-portraits and sculptural masks. That range lets visitors see how Silton has returned to questions of classification, perception and belonging across her career, rather than treating them as subjects limited to one project.
The Whistling Project gives the exhibition a particular focus on voice. Whistling can be a form of expression that does not depend on spoken words; Silton’s masks make that subject visible as an artwork. The source review frames the project in relation to the politics of vocal expression, though it does not detail the exhibition’s presentation of the work or describe audience participation. The larger significance is the way the retrospective places this inquiry alongside Silton’s investigations of identity, illness and the environment.
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From Target to The Whistling Project
The works cited in Hyperallergic’s review show a chronology beginning with Target in 1991 and continuing through Self Portrait #4 in 1995 and Aviate from 1998 to 2000. These projects use different visual methods, but each resists treating a person or living thing as fully defined by a single label or visible characteristic.
The Whistling Project began in 2010 and remains ongoing, according to the review. Its 2012 work Silver Whistles is identified as six silver-plated bronze masks. The retrospective puts this project within a wider practice spanning four decades and multiple media. The source material does not provide a full checklist, a catalogue of all works on view, or the exhibition’s opening and closing dates.
““four-decade retrospective””
— Hyperallergic’s exhibition review
Exhibition Dates and Display Details
The available report does not state when the exhibition opened or closes, how many works are included, or whether the gallery has published a complete checklist. It also does not explain how visitors encounter The Whistling Project in the gallery, or whether any participatory activities accompany the works.
The description of the exhibition’s themes and artistic significance reflects the review’s account. No separate statement from Silton or the gallery is included in the supplied material, so details about the artist’s intentions beyond those attributed in the review, as well as attendance or public response, remain unconfirmed here.
Gallery Information Still Needed
Readers seeking practical details should check the Los Angeles Municipal Art Gallery’s current exhibition information for dates, visiting hours and any related programs. The supplied report does not announce a forthcoming event or a new milestone for the ongoing Whistling Project.
For now, the confirmed development is the retrospective’s presentation of Silton’s work across four decades, including pieces that address identity and vocal expression. Additional information about the exhibition’s schedule, full selection of works and public programming has not been provided in the source material.
Key Questions
What is the news about Susan Silton?
The Los Angeles Municipal Art Gallery is presenting a retrospective surveying Silton’s four-decade career, according to Hyperallergic’s report.
What is The Whistling Project?
It is an ongoing body of work begun in 2010. The report identifies Silver Whistles (2012), comprising six silver-plated bronze masks, as part of the project and connects it to the politics of vocal expression.
Which other works are discussed in the report?
The review discusses Target (1991), Self Portrait #4 (1995) and the Aviate series (1998–2000), among other work.
When can visitors see the retrospective?
The supplied source does not give the exhibition’s opening or closing dates. Check the gallery’s current listings for schedule and visitor information.
Source: hyperallergic.com
