Introduction by Jeffrey Uslip. Interview by Duro Olowu.
British artist Hurvin Anderson (born 1965), is best known for evocative paintings that engage with charged social histories and shifting notions of cultural identity. His depictions of lush Caribbean landscapes and urban barbershops explore themes of memory and place, and the indelible connection between the two. Anderson applies paint with deceptive ease, as if eager to capture the scene before it drifts away; figure and ground blend to create compositional spaces where subjects fluidly project forward and recede back into permeable picture planes. The most comprehensive survey of Anderson’s work to date, Backdrop examines the artist’s practice in depth, presenting new and recent paintings alongside previously unseen sculpture and photography.
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
FORMAT: Pbk, 12 x 18 in. / 76 pgs / 105 color. LIST PRICE: U.S. $40.00 LIST PRICE: CANADA $54 GBP £39.50 ISBN: 9780692499412 PUBLISHER: Contemporary Art Museum St. Louis AVAILABLE: 1/26/2016 DISTRIBUTION: D.A.P. RETAILER DISC: FLAT40 PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: WORLD
Published by Contemporary Art Museum St. Louis. Introduction by Jeffrey Uslip. Interview by Duro Olowu.
British artist Hurvin Anderson (born 1965), is best known for evocative paintings that engage with charged social histories and shifting notions of cultural identity. His depictions of lush Caribbean landscapes and urban barbershops explore themes of memory and place, and the indelible connection between the two. Anderson applies paint with deceptive ease, as if eager to capture the scene before it drifts away; figure and ground blend to create compositional spaces where subjects fluidly project forward and recede back into permeable picture planes. The most comprehensive survey of Anderson’s work to date, Backdrop examines the artist’s practice in depth, presenting new and recent paintings alongside previously unseen sculpture and photography.
