Reed Anderson HOUSE OF YES

REED ANDERSON HOUSE OF YES

REED ANDERSON: HOUSE OF YES October 24-December 31, 2014

Gallery 16 is excited to announce its first exhibition 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 synthesizing 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 before 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 off springs, 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. Papa Object is an ongoing series of paintings by Reed Anderson exploring art’s relationship to object-hood and context. Paintings are sent to people around the world who live with it for thirty days. During this period, the host photographs the art within its surroundings.

The painting is then returned for exhibition and the photographs are catalogued as research for future 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.

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Days Calling Nights, 2014, 76x70, acrylic and collage on cut paper

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Spirit Temple, 2014, 78 x 72 inches, acrylic, spray paint and collage on cut paper Courtesy of Pierogi New York 5

Tough Guys Sister, 2014, 77 x 71 inches, acrylic, spray paint and collage on cut paper

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Black Rainbow, 2014, 27 x 29 acrylic and collage on cut paper 9

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Tom Selleck, 2014, 44 x 42 acrylic and collage on cut paper

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Sultan’s Dream, 2014, 17 x 15.5 acrylic and collage on cut paper

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Tuesday’s Lady, 2014, 40’’ x 42’’, acrylic and collage on cut paper

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Cool With Chloe, 2014, 40’’ x 42’’, acrylic and collage on cut paper

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Professional Shit, 2014, 17 x 15.5 acrylic and collage on cut paper

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Alternate Mother, 2014, 17’’ x 15.5, acrylic and collage on cut paper

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Visitor Pass, 2014, 17’’ x 15.5, acrylic and collage on cut paper

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Sofia Coppola, 2014, 17 x 15.5, acrylic and collage on cut paper

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Number Four, 2014, 17 x 15.5 acrylic and collage on cut paper

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Chair Dance, 2014, 17� x 15.5, acrylic and collage on cut paper

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Major Liker, 2014, 40’’ x 42, acrylic and collage on cut paper

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Flag of Ourselves, 2014, acrylic and collage on cut paper, 40’’ x 42”

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Black Lightning, 2014, acrylic and collage on cut paper, 17” x 15.5’’

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Slow Dance Dance, 2014, acrylic and collage on cut paper, 17” x 15.5’’ 27

Hot Job, 2014, acrylic and collage on cut paper, 17” x 15.5’’ 28

Pieces of You Pieces of Me, 2014, 17” x 15.5’’, acrylic and collage on cut paper

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Transitional Object Objects

by Emily Hall

An object cheerfully destroyed - stamped, annotated, redacted, tagged, stepped on. Further: an object first shot and flattened and rasterized, then stamped, annotated, redacted, tagged, stepped on. The object becomes another object. The object is its own transitional object.

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 say 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 know who owns whom.

It takes an artist to get around an object. As repositories for meaning, objects are variable, frustrating, but we have the last word. Objects, too, are burdened by us, with whatever meaning we assign to them. Is it telling, then, that objects cannot talk back, cannot object.

Our histories are histories of objects. (We are our own transitional objects.) The history of RA, too, is a history of growing up among objects that are not only shifting unreliable explanations of what happens in the jump from life to art. That is to say, art objects, a houseful of art objects, now a storage space full of art objects that is a legacy and also a burden. For RA these objects were also a repository for family life: Easter eggs hidden in a Louise Nevelson sculpture, teething marks on a Henry Moore. As a child he assembled art objects into forts and altars. So that these objects that are repositories for various specific kinds of negotiated meaning were for RA building blocks for other things, personal and physical.

So that all these objects that speak to the jump from life to art for RA occupy the space jumped over, a negotiated position for transitional objects.

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Arranging objects into forts makes them into defensive enclosures; arranging them into altars makes them slippery. The object of an altar is devotional, a place to sit with things whose shapes aren’t necessarily known. A fort and an altar, a safe place to sit with shape-shifting ideas. A safe place for objects to object.

In Our New Lifestyle objects are arranged into forts and temples, cheerfully destroyed by art, made into new objects: three-dimensional objects turned into works on paper, high-culture decorative objects turned into punk rock posters, the carefully aestheticized turned into something impulsive and random-seeming. These are violent acts, rather. They speak to a complicated relationship with objects: a love for objects set against a distrust of the desire for them, an impulse for making sense set against an impulse to fuck it up, the straight path against the meander, the remote against the immediate, the unarguable against the slippery, the assigned meaning against the lived one.

Lifestyle is a terrible word, really. A violent act, rather, enacted on two fine words. Whatever can be done to give the word lifestyle some slippage, I think the word lifestyle might be grateful.

RA told me once that every exorcism is also a seance. Or maybe it was that every seance is also an exorcism. It is telling that I can’t remember which.

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Antartica, 2013, Acrylic on photographic print, 52.5 x 40 35

Our New Lifestyle, Galeria Leyendecker – Santa Cruz de Tenerife, Canary Islands, Spain, 2013 36

Jianggoa Zhen, China, 2013, 52.5 x 40, Acrylic on photographic print 37

Food Pyramid ll, 2014, 52.5 x 40, Acrylic on photographic print 38

Food Pyramid ll, 2014, 52.5 x 40, Acrylic on photographic print 39

Traviso, Italy, 2013, 52.5 x 40, Acrylic on photographic print 40

Sun Ra, 2014, 52.5 x 40, Acrylic on photographic print 41

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Canary Islands, 2013, 52.5 x 40, Acrylic on photographic print 43

Chicago, USA. 2013, 52.5 x 40, Acrylic on photographic print

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Cairo, Egypt, 2013, 52.5 x 40, Acrylic on photographic print

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Fang Fang Touch, 2014, 48” x 36”, acrylic and collage on paper 46

Colour Forms, 2014, 48” x 36”, acrylic and collage on paper 47

Super Medley, 2014, 49.5” x 36” , acrylic and collage on cut paper

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Condition Report, 2014, 49.5” x 36”, acrylic and collage on cut paper 50

Gentlemen of Lacoste, 2014, 48” x 36”, acrylic and collage on cut paper 51

Tunisian Holiday, 2014, 48� x 36�, acrylic and collage on cut paper 52

Los Angeles, USA, 2013, 52.5 x 40 inches , Acrylic on photographic print 53

Point Abino, Canada, 2013, 52.5” x 40”, Acrylic on photographic print.

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Berlin, Germany, 2013, 52.5” x 40”, Acrylic on photographic print.

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Alaska, 2013, 52.5” x 40”, acrylic on photographic print 56

Seoul, South Korea, 2013, 52.5” x 40”, acrylic on photographic print 57

Petaluma, California, 2013, 52.5� x 40�, acrylic on photographic print 58

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Kawartha Park Marina, Ontario, Canada, 2013, 52.5” x 40”, Acrylic on photographic print 60

Soskano, Karrantza Valley, Spain, 2013, 52.5” x 40” Acrylic on photographic print 61

Frankenstein’s Girlfriend, 2014, 52.5” x 40”, Acrylic on photographic print 62

Frankenstein’s Mother, 2014, 52.5” x 40”, Acrylic on photographic print 63

Santiago, Chile, 2013, 54 x 40 inches, Acrylic on photographic print 64

Galisteo, New Mexico, USA, 2013, 52.5” x 40”,Acrylic on photographic print 65

Image List

2. Reed Anderson Stuido detail 3. Days Calling Nights, 2014, 76x70, acrylic and collage on cut paper 4. Days Calling Nights (Detai), 2014, 76x70, acrylic and collage on cut paper 5. Yellow, , 2014, 76x70, acrylic and collage on cut paper 6. cover, 2014, 76x70, acrylic and collage on cut paper 7-8. Reed Anderson Studio Detail 9. Black Rainbow, 2014, 27 x 29 acrylic and collage on cut paper 10. Reed Anderson in studio 11. Tom Selleck,(Detail), 2014, 44 x 42 acrylic and collage on cut paper 12. Tom Selleck, 2014, 44 x 42 acrylic and collage on cut paper 13. Sultan’s Dream, 2014, 17 x 15.5 acrylic and collage on cut paper 14. Tuesday’s Lady, 2014, 40’’ x 42’’, acrylic and collage on cut paper 15. Cool With Chloe, 2014, 40’’ x 42’’, acrylic and collage on cut paper 16. Professional Shit, 2014, 17 x 15.5 acrylic and collage on cut paper 17. Alternate Mother, 2014, 17’’ x 15.5’’, acrylic and collage on cut paper 18. Visitor Pass, 22014, 17’’ x 15.5’’, acrylic and collage on cut paper 19. Sofia Coppola, 2014, 17 x 15.5, acrylic and collage on cut paper 20. Number Four, 2014, 17 x 15.5 acrylic and collage on cut paper 21-22. Reed Anderson Studio Detail 23. Chair Dance, 2014, 17” x 15.5”’, acrylic and collage on cut paper 24. Major Liker, 2014, 40’’ x 42’’’, acrylic and collage on cut paper 25. Flag of Ourselves, 2014, 40’’ x 42”, acrylic and collage on cut paper 26. Black Lightning, 2014, 17” x 15.5’’, acrylic and collage on cut paper 27. Slow Dance Dance, 2014, 17” x 15.5’’, acrylic and collage on cut paper 28. Hot Job, 2014, acrylic and collage on cut paper, 17” x 15.5’’ 29. Pieces of You Pieces of Me, 2014, 17” x 15.5’’, acrylic and collage on cut paper 30. Reed Anderson Studio Detail 31. Transitional Object Objects, Essay by Emily Hall 32-33. Frankenstien’s Mother, 34. Research Vessel, 2013.

35. Antartica, 2013, Acrylic on photographic print, 52.5 x 40 inches 36. Our New Lifestyle, Galeria Leyendecker – Santa Cruz de Tenerife, Canary Islands, Spain, 2010

37. Jianggoa Zhen, China, 2013, 52.5 x 40, Acrylic on photographic print 38. Food Pyramid ll, 2014, 52.5 x 40, Acrylic on photographic print 39. Food Pyramid lll, 2014, 52.5 x 40, Acrylic on photographic print 40. Traviso, Italy, 2013, 52.5 x 40, Acrylic on photographic print 41. Sun Ra, 2014, 52.5 x 40, Acrylic on photographic print 42-43. Canary Islands, 2013, 52.5 x 40, Acrylic on photographic print 44. Chicago, USA. 2013, 52.5 x 40, Acrylic on photographic print 45. Cairo, Egypt, 2013, 52.5 x 40, Acrylic on photographic print 46. Fang Fang Touch, 2014, 48” x 36”, acrylic and collage on paper 47. Colour Forms, 2014, 48” x 36”, acrylic and collage on paper 48. Super Medley, 2014, 49.5” x 36” , acrylic and collage on cut paper 49. Munro Island, Stony Lake, Canada 50. Condition Report, 2014, 49.5” x 36”, acrylic and collage on cut paper 51. Gentlemen of Lacoste, 2014, 48” x 36”, acrylic and collage on cut paper 52. Tunisian Holiday, 2014, 48” x 36”, acrylic and collage on cut paper 53. Los Angeles, USA, 2013, 52.5 x 40 inches , Acrylic on photographic print 54. Point Abino, Canada, 2013, 52.5” x 40”, Acrylic on photographic print.

55. Berlin, Germany, 2013, 52.5” x 40”, Acrylic on photographic print.

56. Alaska, 2013, 52.5” x 40”, acrylic on photographic print 57. Seoul, South Korea, 2013, 52.5” x 40”, acrylic on photographic print 58-59. Petaluma, California, 2013, 52.5” x 40”, acrylic on photographic print 60. Kawartha Park Marina, Ontario, Canada, 2013, 52.5” x 40”, Acrylic on photographic print 61. Soskano, Karratza Vallery, Spain, 2013, 52.5” x 40” Acrylic on photographic print 62. Frankenstein’s Girlfriend, 2014, 52.5” x 40”, Acrylic on photographic print 63. Frankenstein’s Mother, 2014, 52.5” x 40”, Acrylic on photographic print 64. Santiago, Chile, 2013, 54 x 40 inches, Acrylic on photographic print 65. Galisteo, New Mexico, USA, 2013, 52.5” x 40”,Acrylic on photographic print

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Gallery 16 was founded by artist Griff Williams in 1994. Since then, Gallery 16 and its fine art imprint Gallery 16 Editions has produced exhibitions with over 250 artstis and published over 800 prints, artist books, and multiples with artists including Michelle Grabner, Ari Marcopoulos, Jim Goldberg, Colter Jacobsen, Bill Berkson, Harrell Fletcher, Lynn Hershman, Amy Franceschini, William Kentridge, Tucker Nichols, Libby Black, Deborah Oropallo, Jim Isermann, Graham Gillmore, Mark Grotjahn, Rebeca Bollinger, Rex Ray, Margaret Kilgallen.

Reed Anderson’s artwork is available through Gallery 16.

Gallery 16 is located at 501 Third Street, San Francisco, CA 94107.

Inquiries may contact Griff Williams at 415-626-7495.

All images Š Reed Anderson gallery16.com