Mamma Andersson

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Mamma Andersson Text by Heidi Zuckerman Jacobson, Dominic Molon, Laura Hoptman. Swedish painter Mamma Andersson works between domestic interiors and the Nordic landscape, often layering imagery to create subtly haunting, dreamlike atmospheres. Drawing from a variety of sources--from the narrative suggestiveness of
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ASPEN ART PRESS
ISBN: 9780934324502
$35.00 | Awaiting stock

Mamma Andersson: Dog Days Edited and with preface by Martin Hentschel. Text by Elfriede Jelinek, Martin Hentschel. The widely admired Swedish artist Mamma Andersson (born 1962) draws on a long and venerable tradition of northern European art for her painting, in particular that of Romantic landscape painting, whose
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KERBER
ISBN: 9783866786561
$50.00 | In stock

Mamma Andersson

Mamma Andersson: Dog Days

Edited and with preface by Martin Hentschel. Text by Elfriede Jelinek, Martin Hentschel.
Published by Kerber

The widely admired Swedish artist Mamma Andersson (born 1962) draws on a long and venerable tradition of northern European art for her painting, in particular that of Romantic landscape painting, whose moody horizons and ominous weather so acutely characterize her modest-seeming scenes. Of course, Andersson is equally apt to draw on photographs of forensics investigations or scenes from theatre programs, shifting fluidly from the heavy gravity of outdoor scenes to the meticulous detail of equally ominous interiors. This volume, published for an exhibition at the Kunstmuseen Krefeld, contextualizes Andersson’s painting in relation to the works of painters such as Dürer, Dick Bengtsson, Edvard Munch and Caspar David Friedrich, showing how she has likewise extrapolated larger meditations on the human condition from the genres of landscape and interior painting.

Mamma Andersson

Text by Heidi Zuckerman Jacobson, Dominic Molon, Laura Hoptman.
Published by Aspen Art Press

Swedish painter Mamma Andersson works between domestic interiors and the Nordic landscape, often layering imagery to create subtly haunting, dreamlike atmospheres. Drawing from a variety of sources--from the narrative suggestiveness of cinematic imagery to the physical space of theatrical sets--Andersson employs disjointed perspectives and mismatched spatial relationships to create an eerie sense of the otherworldly. Her palette is seductive yet muted, applied in both soft washes and thick brushstrokes, with blank areas sometimes left on the surface of the painting. Andersson's imagery often includes windows, reflections and depictions of other paintings, to further destabilize the spaces she paints. This volume is published on the occasion of Andersson's first one-person U.S. museum show at the Aspen Art Museum and provides a broad overview of her work.