May 2012 Issue
Theresa Anderson has been featured in publications such as Artists Wanted in New York, One Life Photos, Gender Across Borders, Creative Quarterly, Westword and the Denver Post. Represented by Gildar Gallery, Anderson exhibits nationally and is in numerous private collections. The art historian and critic Elaine A. King recently selected Anderson for the exhibit, Where We Are: Tectonic Shifts and Dissolution of Boundaries, Exploring the Tension and Transitions in Contemporary Visual Art Today. 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 is the founder and director at the respected artist run Ice Cube Gallery.
Artist’s Statement: My collecting, drawing, painting, writing, photography, performance art, and installation have been described as “the artist journal on steroids.” Installations reconfigure the detritus of private space and sets of the minu-narrative into public formats that engages the viewer in a temporary relationship filled with slips of the tongue and the pen, misreadings, mishearings, temporary forgettings, and the mislaying and losing of [objects].
Using ideas of intertextuality each series of work resides in opposition to minimalist theory.
The leading minimalist, Donald Judd, believed art should be “seen all at once,” scorning anything fragmentary or dependent on its relationship to other things. Much of my work is “Unmonumental” involves the “variations of a form,” “connecting parts,” and relationships Judd detested.
Nothing in my life can be seen all at once; most involves amorphous, disorderly, or fragmentary structure and hybridity.
This process of art making is impermanent- none of it is heroic or monumental. The work is connected to history but also in a kind of schizophrenic conflict with it…this type of artwork is simultaneously sincere and ironic, acutely self-aware, knowingly shaky, a little snarky, inwardly anxious, and uncertain about the future, but brashly passionate about art without pledging allegiance to any one style.
“Private Listening Devices I Will Be So Quiet”