What is your name: Theresa Anderson
Do you have a formal art education or are you a self taught artist: For a long time I was a self- taught artist dabbling in drawing, watercolor, sewing, wood, painting, and clay. I went back to school for my degree as an non traditional student aka -adult. I spent a couple years in clay and then went on to study the figure. I’m now back to where I was as an artist before I earned by degree, BFA painting.
What is the style of your pieces: My style has been described as neo-expressionism and conceptual realism. I would characterized myself as a process based artist. I work through concepts giving a high regard to line quality, mark-making, composition (whether formal, spatial or two-dimensional), color and texture.
What is the medium in which you work: I really love to paint and draw but am seriously attracted to the objects that I acquire around myself. I see all my work in relation to the space around me. How can I live in that space? How can I affect my space? I love weird nooks and spaces that are puzzles. I live in chaos in my house.
Space is a three dimensional drawing board. Make one mark and then another and then another. Suddenly there is a composition in which to react redact and push. Objects are like collage that provide texture form and can be aggregated to line.
I love to slow down time by creating my own little performance art pieces – just for myself. Ha ha.
What started you on your path as an artist: I think it was just sitting down pounding nails in my Dad’s workshop. Sorting fabric in my Mother sewing room. Painting the furniture in my doll’s house with my sister’s fingernail polish. I went through a phase of catching and painting the backs of wooly caterpillars.
What is one of the most important things that art has brought to your life: People and hard and wonderful conversations.
What is your favorite genre of art besides the one you work in: I don’t want to pick one genre. I think I tend towards certain things such as expressive mark making but, someday if it suits me I may go back to realism or even complete abstraction. I make objects whether photos, paintings or sculpture. Even performance art is object making. I remake self as my own object. Landscapes mediate space, abstraction is formal investigation. Figuration is something else entirely. Installation encompasses all.
Do you have art showings, and if so what are they typically like: I’m currently the director at Ice Cube Gallery and a Full Member at Pirate: Contemporary Art. I typically have two solo exhibits a year and participate in multiple group exhibits. I’ve been pushing myself extremely hard to make a lot of work and keep moving into nooks and crannies. Sometimes my installation work is held together just ever so lightly that if you pull one thing out it could just fall apart. The past year I’ve been trying to address clichés, very tongue in cheek, about women. I feel like I’m lying but I’m not.
Do you have a certain set of clothes you make art in: I’ll send you a photo of my current favorite studio outfit.
What has been the most frustrating part of being an artist? Having to explain myself to people who because of their own life experiences will never get it. I’m sure all artists could say that.
What is your favorite sandwich of all time: Turkey and mayo on homemade bread the day after Christmas. I love when the turkey has little bits of stuffing stuck to it.
Who is your favorite artist alive or dead: That is like asking me to choose one piece of my artwork to pull from the fire. Its all or nothing.
What is the most moving piece of artwork that you have seen in person: I’ve given you the link and partial write up to this installation I saw with my sister. Probably the most influential thing I’ve experienced ever.
December 13, 1998-March 7, 1999LOVE FOREVER: YAYOI KUSAMA, 1958-1968
Exhibition
Gallery A
Postwar Japanese artist Yayoi Kusama's daring work--at times Minimalist and ephemeral, always performative and radical--anticipated questions about materiality and the separation between art and life still asked today. Born in Matsumoto City, Japan, in 1929, she arrived in New York in 1958. In the next few years she created a varied body of work that made a widely known and significant contribution to the contemporary New York scene. After her return to Japan in 1972, much of her work was overlooked in the West. Love Forever: Yayoi Kusama, 1958–1968,co-curated by Lynn Zelevansky, Los Angeles County Museum of Art, and Laura Hoptman, The Museum of Modern Art, New York, focuses on Kusama's time in New York in order to help retrieve a chapter of art history that was all but forgotten.
Exhibition
Gallery A
Postwar Japanese artist Yayoi Kusama's daring work--at times Minimalist and ephemeral, always performative and radical--anticipated questions about materiality and the separation between art and life still asked today. Born in Matsumoto City, Japan, in 1929, she arrived in New York in 1958. In the next few years she created a varied body of work that made a widely known and significant contribution to the contemporary New York scene. After her return to Japan in 1972, much of her work was overlooked in the West. Love Forever: Yayoi Kusama, 1958–1968,co-curated by Lynn Zelevansky, Los Angeles County Museum of Art, and Laura Hoptman, The Museum of Modern Art, New York, focuses on Kusama's time in New York in order to help retrieve a chapter of art history that was all but forgotten.
Do you have any upcoming exhibitions you would like to share with us: My next solo is at Pirate: Contemporary Art.
PRESS RELEASE
Theresa Anderson
power fully placid
Image attached: Theresa Anderson. bwbwbw. “the missing person”. 2011. Acrylic, graphite, spray paint, and hinges on reclaimed doors. 8’ x 12’
Exhibition Dates: January 6- 22, 2012
Opening Reception: January 6, 2012
Contact: Theresa Anderson 303.990.0391
theresaandersonart.com theresaaa2003@yahoo.com
power fully placid. The displacement of the missing person was deceptively easy.
Theresa Anderson’s latest exhibit, power fully placid, renumerates a series of confusing declarations of self. Exploring current feminist theory that is often judged as incoherent- Anderson intentionally explores the idea of misnegations from the standpoint of identity. Misnegations are often misleading uses of words and negatives that tend to cancel each other out. Using seemingly double negatives and flowery statements amongst hand-selected and transformed household objects she highlights inconsistencies of meaning and self-characterization.
Similar to encountering the remnants left to distinguish and memorialize a missing person –the objects in the exhibition become a new placeholder of reminiscences. Initially painting a large diagrammatic of “the missing person” she then set about intensifying her special collection of objects with daily repetitive motions. The accumulation of marks inherent in basting, painting, medicating, dripping, tying, draping, drilling, cutting, and sewing temporarily disguise a once taut linear narrative.
SOFT CRAZY TEXTURED PLUSH RED INTERRUPTION QUILT SPACE SMALL FRAMING ANGULAR BRILLIANT ANGRY HOME DISCARDED SIGNATURE EDGES FLOPPY PRECISE COVERING MINIMAL SLIGHT DEMURE TOUGH BRIGHT TRICKY SNARKY NARROW RICH
Theresa Anderson was recently selected as one of twelve Feature Artists and rewarded with a Top One Hundred by Artists Wanted in New York. Having completed a residency at the Presidents Arts and Humanities award winning PlatteForum in Denver, Colorado she was rewarded with a master artist demonstration on collage and exploratory drawing at the Denver Art Museum. Anderson considers herself part of the punk feminist aesthetic and has exhibited with artists such as Damali Abrams and Wynne Greenwood as part of the new feminist dialogue. Anderson was an instrumental founder and is currently the director at the respected artist run Ice Cube Gallery.
Theresa Anderson
Artist Reception at Pirate: Contemporary Art Friday January 6, 6-10pm
303.990.0391
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