Beyond 1961

Jeremy Anderson

Beyond

1961

Redwood

91 x 24 1/4 x 22

JAns 4

Study for Beyond 1960

Jeremy Anderson

Study for Beyond

1960

Ink and graphite on paper

17 x 13 3/4 inches

JAnd 5

Untitled 1960

Jeremy Anderson

Untitled

1960

Ink, watercolor and gouache on paper

13 1/2 x 16 1/2 inches

JAnd 13

Untitled 1953

Jeremy Anderson

Untitled

1953

Redwood

19 x 5 x 8 inches

JAns 8

Untitled 1953

Jeremy Anderson

Untitled

1953

Redwood

10 7/8 x 20 x 5 1/4 inches

JAns 7

Untitled 1960

Jeremy Anderson

Untitled

1960

Ink, graphite and color pencil on paper

12 1/4 x 13 3/4 inches

JAnd 11

Untitled 1962

Jeremy Anderson

The Night Utopia Burned Down

1962

Redwood

13 x 20 1/2 x 12 inches

JAns 3

Untitled c. 1966

Jeremy Anderson

Untitled

c. 1966

Ink, watercolor, pencil and color pencil on paper

15 1/4 x 12 3/4 inches

JAnd 10

Untitled 1959

Jeremy Anderson

Untitled

1959

Cast lead

6 x 9 x 6 inches

JAns 9

Untitled 1952

Jeremy Anderson

Untitled

1952

Redwood

11 1/2 x 33 1/2 x 6 1/4 inches

JAns 6

Untitled 1960

Jeremy Anderson

Untitled

1960

Redwood and lead

11 1/2 x 31 1/4 x 12 inches

JAns 11

Untitled c. 1960s

Jeremy Anderson

Untitled

c. 1960s

Ink and graphite on paper

22 x 11 inches

JAnd 7

Untitled 1966

Jeremy Anderson

Untitled

1966

Ink, watercolor, pencil and color pencil on paper

8 1/2 x 11

JAnd 6

Untitled 1960

Jeremy Anderson

Untitled

1960

Ink and watercolor on paper

13 3/4 x 16 3/4 inches

JAnd 8

Between 1961

Jeremy Anderson

Between

1961

Redwood and teak

33 1/2 x  23 1/2 x 21

JAns 5

Untitled c. 1960s

Jeremy Anderson

Untitled

c. 1960s

Ink, watercolor, pencil and color pencil on paper

13 3/4 x 10 inches

JAnd 9

Untitled 1955

Jeremy Anderson

Untitled

1955

Ink and graphite on paper

8 1/2 x 11 inches

JAnd 4

Four Hermits Named Dave 1964

Jeremy Anderson

Four Hermits Named Dave

1964

Colored pencil, ink and graphite on paper

25 1/2 x 30 1/2 inches

JAnd 12

Untitled 1953

Jeremy Anderson

Untitled

1953

Teak

61 x 10 1/2 x 10 1/2 inches

JAns 10

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Installation view, Jeremy Anderson - Between, Beyond: 1953-64, George Adams Gallery, New York, 2019.

Press Release

The George Adams Gallery is pleased to announce an exhibition of sculptures and related drawings by California artist Jeremy Anderson (1921-1982), in what will be his first solo exhibition in New York since 1954. The focus will be on the ‘50s and early ‘60s, with sculptures in wood and metal and drawings in pencil and mixed media. Generally overlooked in the greater narrative of post-war, Northern California sculpture, Anderson was nevertheless one of the most quietly influential artists of his time, spanning the conventions of surrealism, ‘Funk’ and pop art to synthesize “a whole new iconography particular to American art.”

 

Anderson was part of the generation of artists to attend the California School of Fine Arts on the GI Bill, himself having served in the Navy during WWII. The decade following the war which he studied (and later taught) at the school was characterized by intense experimentation and cross-disciplinary exchange. With a distinct style of expressionist painting emerging, through the example of Hassel Smith, David Park, but most notably Clyfford Still, similar headway was occurring in three dimensions under the disparate examples of Robert Howard (biomorphic) and Clay Spohn (Dada-esque). Though the ideas and imagery of surrealism remained a common reference for those working in both two and three dimensions, the art being made by Anderson and his peers quickly evolved into something else entirely.

 

For his part, while Anderson’s sculpture initially drew from the work of artists such as Gorky, Giacometti and Miró, he also considered that sculpture had the unique potential to express intangible concepts: “ideas, being a soul with no body, have to assume some form.” After a trip to Europe following his graduation in 1951, he became increasingly engaged with ancient civilizations, or rather the artifacts that define them. The collection of medieval arms and armaments at the de Young Museum was also an early reference point and the physical and aesthetic qualities of those objects carried through to his sculptures and drawings well into the ‘60s. After experimenting with various materials, he began working primarily in redwood - which was cheap and readily available. Carving bulbous, totemic forms and table top sculptures evoking dream-like environments or staged battles, his work of the mid-1950s (which was rarely titled) remains enigmatic yet evocative.

 

By the early ‘60s, these surreal abstractions were increasingly gaining figurative touches with forms or appendages suggestive of human or human-adjacent objects. Major sculptures such as ‘Between’ and ‘Beyond’ (both 1961) allude to a house and a ship, respectively, populated by fragments of his earlier biomorphic forms. While in some ways rigorous and formal, Anderson’s work also holds a grain of humor - increasingly so in his sculpture post-1961, as he began to introduce color and text, as well as titles. Such additions brought into focus his enduring preoccupation with mythologies of both the personal and universal sort, solidifying his concept of sculpture as a representation of intangibles. Similarly, drawings became a space for free association, with language becoming the medium of choice; one drawing from 1966 states boldly: “WARP LANGUAGE TO FIT SCULPTURE.”

 

Jeremy Anderson was born in Palo Alto, California in 1921 and died in Mill Valley, CA in 1982. He received a BFA from CSFA (now SFAI) in 1950, where he later taught for nearly two decades. Anderson has been the subject of three major retrospectives, at the San Francisco Museum of Modern Art in 1966, the Museum of Contemporary Art Chicago in 1975 and the Monterey Peninsula Museum of Art in 1995. His work is included in public collections such as the Museum of Modern Art, New York; the San Francisco Museum of Modern Art, CA; Oakland Museum of California, CA; and the Yale University Art Gallery, New Haven, among others.