6 September - 6 October 2018
Anna Kaplan Contemporary (formerly BT&C Gallery) is pleased to announce DayBreaker, a solo show of recent work in varied media by Reed Anderson. DayBreaker opens on Thursday, September 6th with a reception 6 – 9pm and will remain on view through October 6th. Gallery hours (new for the Fall) are Wednesday – Friday 11am – 3pm, or by appointment (716-604-6183 firstname.lastname@example.org).
DayBreaker includes work from each of the three major veins of Anderson’s practice— his large-scale cut paper works, the “PapaObject” series, and his most recent textile-based banner paintings. This show marks the first time Anna Kaplan Contemporary is exhibiting Anderson’s work. Concurrent to DayBreaker will be an installation of Anderson’s work, the focus of which is his most ambitious banner painting to date at 16 feet long, in the historic stairwell at Hotel Henry in Buffalo. The Hotel Henry installation is part of The Corridors Gallery at Hotel Henry: A Resource:Art Project and will remain on view through early November.
Anderson’s three bodies of work both complement and challenge each other, opening up an extended dialogue about palette, image, and intention. The banner paintings are sewn from ripstop nylon in vibrant (even jarring) color combinations. The fabric recalls sails, kites, or parachutes and hot air balloons. The fabric itself is not always pristine as Anderson works with a combination of found, weathered material, and new stock. Anderson explains his attraction to the material:
“When I was younger growing up in Canada I was a ski racer… I also sailed on a lake where my family has a cabin. At the time, the flashy graphics of the 80’s was all over this stuff and I loved the colors and forms. They felt new, fresh and alive. Seeing spinnaker sails moving across the water looked more like paintings in motion, gliding over a vast expanse of nature. About eight years ago a friend was teaching sailing at the boat club in Canada where I had sailed. I asked about old spinnaker sails, and at the end of the summer she showed up with a bag of beautiful, dirty, ripped used sails. I started working with them them as a side-project, but it didn’t come together until about a year ago. The resulting work acknowledges a simplicity of form that was contained within my other more intricate work, and now has a voice of its own.”
These hand sewn textiles will be hung alongside Anderson’s signature paper cut works, which more recently he has begun to affix directly to canvas. The show shares its title with one of these works, a signature piece in the installation. These intricately cut, layered works have organic, often floral, imagery rooted in historic textile patterns, and are created using a self-contained process that is at once reductive and additive. These works often share a similar palette with the banner paintings, but offer an intensity of imagery not found in the minimalistic geometry of the textile works. Hanging the three diverse bodies of work together creates an undulating and animated energy in the white cube of the gallery space. Anderson’s works have a significant presence in the space and announce themselves directly and with no pretense.
Also included are framed works on paper from Anderson’s continuing “PapaObject” series. This most intimate in the artist’s oeuvre, relate to a childhood surrounded by overwhelming material culture. Through this series, Anderson digests and reclaims objects familiar to him from auction catalogues and books in his visual library. He explains:
“I grew up in a house full of art and objects, things everywhere …I see these paintings as object-posters that lay claim to the things familiar to me, but that are long gone. In another way, they are actively challenging a marketplace gone off the rails by re-representing objects of cultural import as similar to a supermarket’s daily deals and specials poster.” The “PapaObject” works acknowledge the artist’s own history as well as the larger history of aesthetics, with a prescient look towards the future.
Anderson’s palette and forms recalls Peter Halley with whom he worked for a year in his NYC atelier, paired with the intuitiveness of Chris Martin’s lines and the Chinese history of cut paper and stenciling. His practice pairs the meticulous, restrained, and controlled with an organic visceral urbanity.
ABOUT THE ARTIST
Reed Anderson was born in 1969 in New York, NY. He studied at both the Cleveland Institute of Art (where he studied painting with Julian Stanczak, a major influence in his creative practice) and the San Francisco Art Institute where he received a BFA in Printmaking. He also holds an MFA in Studio Art from Stanford University. Anderson has been exhibiting his work nationally and internationally for over 25 years. Anderson’s work is featured in numerous public and private collections, notably the Museum of Modern Art, NYC; the Albright-Knox Art Gallery; The West Collection, Philadelphia; The Olbricht Collection, Essen, Germany; and The Thyssen-Bornemisza Art Contemporary, Austria. Anderson currently lives and works in Great Barrington, MA where he and his family recently relocated after many years of living in New York City.