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Reed Anderson HOUSE OF YES

October 24 - December 31, 2014

Opening reception on Friday October 24 from 6 – 9pm

Reception: Friday, October 24 6-9pm.
Special Musical Guest: Ash Reiter and Sugar Candy Mountain

Gallery 16 is excited to announce its first show with Brooklyn based artist Reed Anderson. Having been long time admirers of Reed’s work, we couldn’t be happier to finally be working with him.

This is the first west coast show of the artists work in 4 years. Gallery 16 will present a major installation synthe- sizing of two recent series. The show will contain over 40 large scale works. He will present his exuberant cut paintings on paper and his ongoing “Papa Object” project.

Anderson begins his cut paintings by wood block printing patches and bands of color onto the base paper be- fore cutting intricate circles and ellipses as a stencil, which is then folded and painted upon itself multiple times to create an image. Paper that has been cut out of these drawings further embellish and collage into the work, while smaller artworks arise from detritus printed elsewhere while working. Anderson describes his process of balancing chance and organization: “This growing organic mass, with interconnections and offsprings, is both a map of how I work and the product of the work itself ...but this map must eventually be tossed out for the forward spontaneity of painting.”

The Object paintings begin with large printed images of objects appropriated from various auction catalogues. The initial images are objects familiar to Anderson consisting of furniture and other objects similar to those that he grew up with. These printed or and collaged images are then painted over to rerepresent the object anew. The caveat is that some of the finished works have been hung in private homes all over the world and then photographed in place as a conceptual element to the work. This particular series is one that Anderson refers to as Papa Object. “Papa Object is specific to a group of these paintings I mailed to locations around the globe as a kind of research experiment before deciding to show them publicly. Places included a sweatshop in China, a research vessel in Antarctica and an office cubical at MOMA.”

In the Essay, Transitional Object Objects, Emily Hall wrote of object paintings: “We live in a world of objects; there is no getting around it. We long for them, ruin ourselves to acquire them, pile them up unwisely, shore them against our ruin. There are objects we need and objects we tell ourselves we need. In some cases we couldn’t tell ourselves which. In some cases we’re not aware even of having done it. There are objects we are obligated to, burdened by. We are choked by objects, paralyzed by them. In some cases we don’t even know who owns whom. ...It takes an artist to get around
an object.”

Anderson’s work is included in the permanent collections of the Museum of Modern Art (NYC), The Albright-Knox Gallery (Buffalo, NY), and numerous private collections including Thyssen Bornemisza Art Contemporary (Austria), Olbricht Collection (Essen, Germany), and the West Collection (Philadelphia, PA). He holds degrees from Stanford University and San Francisco Art Institute.