Susan Silton's interdisciplinary projects engage multiple aesthetic strategies to mine the complexities of subjectivity and subject positions, often through poetic combinations of humor, discomfort, subterfuge and unabashed beauty. Silton’s work takes form in performative and participatory-based projects, photography, video, installation, text/audio works, and print-based projects, and presents in diverse contexts such as public sites, social network platforms, and traditional galleries and institutions.
Silton’s work has been exhibited/presented nationally and internationally at Museum of Contemporary Art, Los Angeles; SFMOMA, San Francisco; LA><ART, Los Angeles; Hammer Museum; ICA/ Philadelphia; MAK Center for Art and Architecture, Los Angeles; and Australian Centre for Contemporary Art, Melbourne, among others. Projects include the commissioned site-specific performance Quartet for the End of Time, produced by LAND (Los Angeles Nomadic Division); the site-specific opera, A Sublime Madness in the Soul (2015), which presented through the windows of the artist’s then-studio in downtown Los Angeles; In everything there is the trace at USC Fisher Museum, the book project and Who's in a Name? (2013). In November 2015, Silton’s Whistling Project was included in SITE Santa Fe’s year-long series of exhibitions, SITE 20 Years/20 Shows, which included a commissioned performance by Silton’s women’s whistling group, The Crowing Hens. She has received fellowships and awards from the Getty/California Community Foundation, Art Matters, Center for Cultural Innovation, Cultural Affairs Department of the City of Los Angeles, The MacDowell Colony, Banff Centre for the Arts, Durfee Foundation, The Shifting Foundation, and Fellows of Contemporary Art (FOCA). Most recently, she has been awarded an LA Metro commission for permanent installation in the Wilshire/Fairfax subway station. Silton’s work has been featured in numerous publications. Susan Siltonlives and works in Los Angeles.