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Sam
Anderson,
Talley’sTalley’s
Folly, mother’s
tankstation,
8 April–23
May 2015
Sam
Anderson,
Folley,
mother’s
tankstation,
8 April - 23 May 2015
06.08.2015 (11:02 am) – Filed under: Reviews ::
Two small boats carved from blocks of wood rest on a bed of flour and chalk like
vessels run aground on a terrain of icy snow or sun-bleached sand. Three fly-like
creatures splay their waferish wings. Two snooker cues, snapped and retaped to bend
in the middle, rest on a ledge like spindly legs frozen mid-sway. There are several
small painted wooden balls; they could be planets marooned from the cosmos. And
three little clay donkeys carry passengers coming from and going where?
These are some of the peculiar sights to be encountered at Sam Anderson’s first solo
exhibition, Talley’s Folly, at mother’s tankstation, an intriguing exhibition of small
sculptures and assemblages, crafted and cobbled together from a variety of found and
familiar materials including wood and clay but also table salt, hay, blood orange
juice, and black pepper, employed in unusual ways and resulting in strange
formations that lure the viewer into a series of curious little worlds.
Sam Anderson
To the Omega
2015
Clay, wood, animated projection (10.59 minutes)
Courtesy of the artist and mother’s tankstation
The darkened entryway to the gallery is occupied by a small clay sculpture of a
figure on a donkey, To The Omega (all works 2015), its four tiny legs planted on the
red tiled floor. The figure astride it, body twisted towards us, clutches its reigns, and
stares in our direction, brow furrowed. An animated projection of white light,
alternating between a dot, a crescent and a round disc, dances around the sculpture
on a ten minute, fifty-nine second loop. The play of light resembles a time-lapse
video of the moon variously illuminating these two little characters, giving the
sculpture the quality of a still from an animated epic: two journeymen navigating
their way through a dark landscape under the glow of a nighttime sky.
In the main gallery space
stand two more of these donkey-figure clay sculptures,
Paper Visual Art Journal, August 2013
differently poised but similar, as if at different points in a story begun by the first
one. The clay sculptures are each un-painted. They are uneven and patchy and so still
evidence the particular malleable character of this distinct material: hardened but
figure on a donkey, To The Omega (all works 2015), its four tiny legs planted on the
red tiled floor. The figure astride it, body twisted towards us, clutches its reigns, and
stares in our direction, brow furrowed. An animated projection of white light,
alternating between a dot, a crescent and a round disc, dances around the sculpture
on a ten minute, fifty-nine second loop. The play of light resembles a time-lapse
video of the moon variously illuminating these two little characters, giving the
sculpture the quality of a still from an animated epic: two journeymen navigating
their way through a dark landscape under the glow of a nighttime sky.
In the main gallery space stand two more of these donkey-figure clay sculptures,
differently poised but similar, as if at different points in a story begun by the first
one. The clay sculptures are each un-painted. They are uneven and patchy and so still
evidence the particular malleable character of this distinct material: hardened but
retaining a sense of the material’s original soft pliability, the imprints of handling
still visible in its moulded, dried form. They are like prototypes for a claymation
film, each emanating a sense of provisionality, a readiness to be animated.
There are also a number of four-legged wooden constructions, painted white, and
orderly spaced in the gallery. A raised border runs the perimeter of each. Two
snooker cues leaning against one of the constructions gives it the look of a miniature
billiard table. But these are more than tables. In their blanched state, and populated
as they are by a variety of assemblages and small sculptures – some of identifiable
forms, some not – they take on the appearance of makeshift stages.
Sam Anderson
Talley’s Folly
2015
Installation view
Courtesy of the artist and mother’s tankstation
In the corner, on one of these stages stands a donkey-figure sculpture, Talley, raised
from the floor. On the others a variety of scenes are placed. In Eva, for example,
beneath the hue cast by a hanging red light bulb, wires containing little metal balls –
suspended by unseen magnets – curve around two rudimentary wooden shapes,
figurative in their combination. The scene suggests a game is being played.
Elsewhere upon these structures sit the grounded boats (Boats), the wafer-winged
creatures (in Liz) and the painted planet-like spheres. In Rows, for example, one such
sphere sits near a grid of bored holes out of which poke blades of hay. They are
surrounded by scatterings of fine black pepper that seem like the dislodged soil of an
arid, perhaps alien, landscape.
The use of these four-legged stages unites each unusual arrangement within a
common space implying a sense of purpose in their being-there-together. The gallery
becomes like a terrain of small habitats populated by small creatures or characters
(bolstered by the titling of some works with recognizable female names). More like
makeshift dioramas than static compositions, the arranged objects resemble sets
waiting to be activated, scenes paused, snapshots of stories. They are imbued, like
the donkey-figures, with a compelling sense of narrative, albeit partial and obscure.
from the floor. On the others a variety of scenes are placed. In Eva, for example,
beneath the hue cast by a hanging red light bulb, wires containing little metal balls –
suspended by unseen magnets – curve around two rudimentary wooden shapes,
figurative in their combination. The scene suggests a game is being played.
Elsewhere upon these structures sit the grounded boats (Boats), the wafer-winged
creatures (in Liz) and the painted planet-like spheres. In Rows, for example, one such
sphere sits near a grid of bored holes out of which poke blades of hay. They are
surrounded by scatterings of fine black pepper that seem like the dislodged soil of an
arid, perhaps alien, landscape.
The use of these four-legged stages unites each unusual arrangement within a
common space implying a sense of purpose in their being-there-together. The gallery
becomes like a terrain of small habitats populated by small creatures or characters
(bolstered by the titling of some works with recognizable female names). More like
makeshift dioramas than static compositions, the arranged objects resemble sets
waiting to be activated, scenes paused, snapshots of stories. They are imbued, like
the donkey-figures, with a compelling sense of narrative, albeit partial and obscure.
Furthermore, their small stature courts the viewer to crouch down and inspect, to
engage in different ways of looking. This working in small scale is one of the
defining aspects of Anderson’s practice. Her exhibitions can seem like the detritus of
a precociously crafty child or an enthusiastic but perverse model-maker. Yet her
proclivity for miniature seems guided more by a desire to realise its potential for
storytelling than by some eccentric penchant for the diminutive. In The Poetics of
Space, French philosopher Gaston Bachelard explores the unique imaginative power
of miniature in poetry and fables. For him, its ‘liberation from all obligations of
dimensions’ allows entry into the domain of the fantastic; it ‘causes men to dream’.
[1] With her little three-dimensional material vignettes Anderson achieves just such
an end, creating portals into imaginary miniature worlds.
Sam Anderson
Sally
2015
Clay, wood
Courtesy of the artist and mother’s tankstation
The influence of fables and fantasy percolates a show that is clearly indebted to
various modes of storytelling. The exhibition’s title is borrowed from that of a 1979
one-act play by American playwright Landford Wilson about the pursuit of a lady
named Sally Talley by her future husband, Matt. One of the clay sculptures is called
Talley, another Sally. There is no donkey in Wilson’s tale but the accompanying text
refers to Dapple, the donkey of Miguel de Cervantes’s Don Quixote, offering
potential contextualization from another preexisting literary source. The characters of
other stories are woven into the exhibition but are cast in new circumstances. The
artist acknowledges this in her accompanying text: ‘The details are there but the
story is changed, or maybe useless.’ [2] There are threads, but we must find our own
way to tie them together.
The influence of fables and fantasy percolates a show that is clearly indebted to
various modes of storytelling. The exhibition’s title is borrowed from that of a 1979
one-act play by American playwright Landford Wilson about the pursuit of a lady
named Sally Talley by her future husband, Matt. One of the clay sculptures is called
Talley, another Sally. There is no donkey in Wilson’s tale but the accompanying text
refers to Dapple, the donkey of Miguel de Cervantes’s Don Quixote, offering
potential contextualization from another preexisting literary source. The characters of
other stories are woven into the exhibition but are cast in new circumstances. The
artist acknowledges this in her accompanying text: ‘The details are there but the
story is changed, or maybe useless.’ [2] There are threads, but we must find our own
way to tie them together.
The words of the great storyteller Italo Calvino seem germane here: ‘The moment an
object appears in a narrative, it is charged with a special force and becomes like the
pole of a magnetic field, a knot in the network of invisible relationships … We might
even say that in a narrative any object is always magic.’ [3] In Talley’s Folly, it is the
reverse, as narrative appears in objects, both becoming as a consequence mutually
charged. It is the nature of this relationship, between objects and narrative, how one
feeds into the other, the allure that emerges from their entanglement, that Anderson
harnesses in her work. But she makes the objects strange and the narrative partial and
unclear. It is the attempt to make some sense out of all this, to unravel the knots and
elucidate the relationships at play that makes viewing Talley’s Folly such a
captivating encounter.
Sara O’Brien is a writer based in Dublin.
[1] Gaston Bachelard, The Poetics of Space (Boston, MA: Beacon Press, 1994), 152–54.
[2] Accompanying exhibition press text: Sam Anderson, Talley’s Folly, mother’s
tankstation, 2015.
[3] Italo Calvino, Six Memos for the Next Millenium (Cambridge, MA: Harvard University
Press, 1988), 33.
Comments OffTags: animation, clay, Landford Wilson, Mother's Tankstation, Sam Anderson, Sara
O'Brien, sculpture, Talley's Folly
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CHAPTER NY
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The Observer, December 2013
gingerly amid minuscule clay flowers, two stacks of miniature Wall Street Journals tied with
twine atop one dowel and, on the ground, three adorable little barrels paired with two carob
seeds and a cherry stem slid through a minute metal string, alluding to settings as diverse as
prehistoric times, the present day and the Wild West. At the center of the grid is the meatiest
work, just about 9 inches tall: a frog skeleton struggling to climb a rock like it’s fighting for its
life.
Eastern Expansion: Lehm
Maupin Heads to Hong Ko
Ms. Anderson’s recent, only-slightly-larger
show at the Bed-Stuy Love Affair project
‘Drum,’ 2013. (Courtesy the artist and Chapter NY)
space, her current one-work solo outing at
SculptureCenter and now this exhibition
position her as one of today’s most interesting young artists. (Through Dec. 22)
Follow Andrew Russeth on Twitter or via RSS. [email protected]
topics: Chapter NY, On View, Sam Anderson
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Each little assemblage seems to hint at a
vignette as short as one or two sentences
that could be fused with other pieces to
produce an almost infinite number of longer,
surreal narratives. Charles LeDray’s carefully
modeled bite-size sculptures are clearly
reference points, but Ms. Anderson seems to
work small less for reasons of fetishistic craft
than for its storytelling potential.
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CHAPTER NY
GALLERIST NY
THE YEAR OBSERVED
The Year in, and Beyond,
the Galleries
BY ANDREW RUSSETH
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Installation view of T. J. Wilcox, ‘In the Air,’ 2013. (Photo by Bill Orcutt/Whitney Museum)
It’s been brutal trying to whittle down a “best of” list for 2013, but the top slot? That’s easy: the
New York art world’s recovery after Hurricane Sandy. It’s astounding to think back to October
2012, when galleries were flooded and art was destroyed, when artists and art handlers, dealers
and interns could be found without electricity, carrying soggy works from basements, tearing out
drywalls and trying to figure out what to do next. The entire foundation of the art world felt
threatened. But galleries dug out. They raised money to help dealers who had suffered losses,
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and by January most of the affected ones were up and running again.
That experience colored the year for me, as I suspect it did for others. I can’t prove empirically
that the art world got any nicer, but it felt like a sense of camaraderie grew out of it. It made an
already strong year in art feel just a little bit stronger.
It definitely made the jam-packed summer show that Ryan Foerster hosted at his Brighton
Beach home all the more poignant and inspiring. The storm had rendered his bungalow
uninhabitable, and he was still working on repairs when he opened the show, stocked with work
by exciting young artists like Zak Kitnick, Rose Marcus, Win McCarthy, Jory Rabinovitz,
http://galleristny.com/2013/12/the-year-in-and-beyond-the-galleries/
127 Henry Street, New
York, NY 10002 www.chapter-ny.com
The Observer, December 2013
88 Year Old Yoga
Teacher Shares Her
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CHAPTER NY
3/3/2014
The Year in, and Beyond, the Galleries | Gallerist
Rochelle Goldberg and Joshua Abelow. It
may have been the liveliest group show of the
year, spreading out into his yard, onto the roof
and into his bathroom.
A fierce competitor for that title is “Draw
The Most Memora
Gallery Shows of 2
Gym,” the blowout drawing exhibition that
artist Brian Belott organized at the ascendant
247365 and Know More Games galleries in
Brooklyn’s Donut District, filling their walls with
scores of black-and-white drawings by as
many artists, with scores more drawings
A bench sculpture by Kitnick and McCarthy in Foerster’s
show. (Photos by The New York Observer unless
Popular on
otherwise noted)
Morning Links: Tr
spilling onto the ground. Two other
contenders: Bob Nickas’ summer
extravaganza in Jose Martos’ North Fork
home and Greene Naftali’s bracing “Freak
Out.”
On the solo-show front, the new work I’m still
thinking about, and longing to see again soon,
include Keith Mayerson’s heartbreakingly
‘Draw Gym.’ (Courtesy 247365 and Know More Games)
masterful paintings—abstractions, family
portraits, that Obama family stunner—at Derek Eller; Jamian Juliano-Villani’s explosive, jawdroppingly controlled airbrushed numbers
from her debut, at Rawson Projects; Michael
Williams’ gutsy paintings at Canada, in which
he pairs digital prints and airbrush marks to
make art that looks startlingly new; everything
Bjarne Melgaard did around town, but
especially his necr ophiliac outing with William
N. Copley at Venus Over Manhattan;
Mathieu Malouf’s gothic-tinged paintings and
chic, creepy BDSM lair at Real Fine Arts (not
to mention his luxurious paintings at their
Installation view of ‘Ajay Kurian: Proleptic’ at 47 Canal.
(Courtesy 47 Canal)
Miami Basel booth); Amy Yao’s charming show of six beautifully accented ladders at 47 Canal;
Ajay Kurian’s meaty sculptures, also at 47 Canal, which take still-developing sculptural modes
into deliciously rococo territory (you still have a few days to catch that one); Ben MorganCleveland’s sly, haunting, frankly disgusting floor works at Eli Ping Gallery, which he made by
leaving affixing sheets of burlap to cobblestone and letting passing trucks do the work overnight;
Yashua Klos’ haunting, fragile paper constructions at Tilton Gallery; Amanda Friedman’s
deliriously weird paintings, which climbed Spare Room Projects’/Jackie Klempay’s walls and
backyard tree in Bushwick; Alice Mackler’s wildly entertaining ceramics at Kerry Schuss; JTT’s
succinct and long-overdue Diane Simpson sampling; Artists Space’s long-overdue and
impossibly fresh survey of Zilia Sánchez; everything by Sam Anderson, whose small,
mysterious sculptures, strewn with animal skeletons and little props, pack serious punches; and
the delectable No-Neck Blues Band ephemera show at Audio Visual Arts.
Galleries also delivered the goods when it
came to work by artists who are no longer with
us. At Zwirner, Robert Storr’s Ad Reinhardt
show, which included 13 of his black paintings,
witty cartoons and travel photographs, was the
revelation of the year, neck and neck with
John Elderfield’s late Willem de Kooning
stunner at Gagosian. (There ar e a few days
left on both of those also.) Meanwhile, Davis &
Installation still of Bender, ‘Total Recall,’ 1987, at The
Langdale made a worthy case for an Albert
http://galleristny.com/2013/12/the-year-in-and-beyond-the-galleries/
127 Henry Street, New York, NY 10002 www.chapter-ny.com
The 50 Most Powe
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3/3/2014
CHAPTER NY
Kitchen. (Courtesy the Kitchen)
The Year in, and Beyond, the Galleries | Gallerist
York museum exhibition, and the Kitchen a
strong argument for a much larger Gretchen
Bender show. (We’ll get more at next year’s Whitney Biennial.) And the embattled American Folk
Art Museum deserves praise—and, if you’ve got the cash or art, donations—for bringing us not
one but two choice Bill Traylor shows.
Much of the most memorable art lasted for
only a few hours, or a night or two. There
were Ei Arakawa’s performances with friends
early in the year at the Guggenheim and the
Museum of Modern Art that burned with his
inimitable ludic wit. (Another reason to get
pumped for next year’s Biennial: He’ll colab
with Carissa Rodriguez, who offered up one
of the year’s most terrifyingly sharp shows, at
Front Desk Apparatus.)
Ei Arakawa at the Guggenheim. (Photo by Paula
Court/Guggenheim)
In June, Los Angeles-based artist Dawn
Kasper staged an hour-long performance in
the living room of a Tribeca condominium
once used by Dominique Strauss-Kahn that
progressed from funny to exasperating to
weirdly pleasurable as she bumbled through a
lecture and demonstration before a baffled
audience that had been corralled by dealer
David Lewis. Late July brought Park
McArthur’s head-scratching residency at
Performance still of Kasper.
Essex Street, which had her hanging clothes
outside the shuttered space for two weeks in
midsummer, a quiet, oblique show about homelessness, space and place that never closed.
“Under the BQE” arrived in September, a
scrappy show organized by artists Marie
Karlberg and Lena Henke for one evening
under, yes, the Brooklyn-Queens Expressway,
which had young guns like Sam Pulitzer,
Nicolas Ceccaldi and the curators
themselves offering up major new works. (Ms.
Karlberg and Ms. Henke are hosting a nail-art
salon this evening, Wed., Dec. 18.) On the
tonier end of the spectrum, Dominique Lévy
Gallery staged Yves Klein’s gorgeous
Pulitzer in ‘Under the BQE.’ (Courtesy ML Artspace)
“Monotone-Silence” Symphony with a full choir and orchestra at Madison Avenue Presbyterian
Church.
And did you catch David Diao’s epic,
stemwinding lecture on Barnett Newman at
Dia? I missed it but got the audio from Dia. It’s
amazing, as was his painting show at
Postmasters. (Still another reason to be
excited about the Whitney Biennial.)
The worst art of the year? The less said about
that the better, but the glut of bland,
meaningless abstract painting currently
dominating Lower East Side galleries is a
Diao, ‘Double Rejection 2 (MoMA Boardroom),’ 2012.
(Courtesy the artist and Postmasters)
trend that would be nice to stop now. My least
favorite shows of the year: Nate Lowman at
http://galleristny.com/2013/12/the-year-in-and-beyond-the-galleries/
127 Henry Street, New York, NY 10002 www.chapter-ny.com
CHAPTER NY
3/3/2014
The Year in, and Beyond, the Galleries | Gallerist
the Brant Foundation, Angel Otero at Lehmann Maupin and Josephine Meckseper at Andrea
Rosen.
But let’s end on a positive note, with what were, for me, the year’s highlights (setting aside MoMA
PS1’s Mike Kelley retrospective, which is in a once-in-a-generation class of its own):
3. The classical music concert that Rainer
Ganahl organized early in January (with
support from White Columns) at the soon-toclose El Mundo department store in East
Harlem, a grand, dilapidated space built as a
soaring theater in the 1920s, with professional
and student musicians (including artist Ken
Okiishi) playing violin and piano, and singing.
It was freezing outside, but it was brilliantly
warm and deeply melancholic within, amid
stacks of clothes and a rapt audience, amid
the brutal upheaval that New York
Ganahl’s concert at El Mundo. (Courtesy the artist)
continuously inflicts.
2. Danh Vo’s Hugo Boss Prize show at the Guggenheim, for which he presented thousands of
trinkets, knickknacks and bric-à-brac (and a few little paintings) from the collection of the late
Lower East Side painter Martin Wong (who was himself the subject of P.P.O.W.’s great-looking
booth at the ADAA Art Show in March). It was a touching portrait of an artist we lost too soon and
a treatise on the meanings that objects generate and the reasons we collect them, whether in our
homes or just our heads—a virtuosic piece of art.
1. And finally T. J. Wilcox’s “In the Air”
panoramic video installation at the Whitney.
Shot through the windows of his Union Square
penthouse studio, it shows 24 hours of New
York’s skyline in the span of about 30 minutes
and is interspersed with other short videos: an
improbably hilarious vignette about Warhol
and the Pope, a sizzlingly entertaining one
about Gloria Vanderbilt and one about Sept.
11 that brought me to the verge of tears. (I
Still from Wilcox’s ‘In the Air,’ 2013. (Courtesy the artist,
Metro Pictures and the Whitney)
know I’m not alone on that.) It ranks as one of
the most important, most moving artworks
ever made about New York. It makes you see
our resilient, evolving city anew and invites you to fall in love with it all over again, and again, and
again.
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127 Henry Street, New York, NY 10002 www.chapter-ny.com
Saltz, Jerry “To Do: November 13-20, 2013” New York Magazine, November 18, 2013
2012 album La Futura was unjustly ignored.) Bring dancing shoes. —Jody
Rosen
The Paramount, Huntington, Long Island, November 16 and 17.
Art
5. See Sam Anderson’s Flowers and Money
Her first show in a tiny new gallery.
All signs point to the vigorously bubbling Lower East Side gallery scene. Witness
this new space, barely bigger than a shoe box, where Sam Anderson debuts with
a trippy cluster of dowels standing waist-high, many with wee things situated
about—bird bones, little tiny barrels, teensy newspapers, mini-horseshoes—in
an arrangement straight from her burgeoning imagination. —Jerry Saltz
Chapter NY, 127 Henry Street, through December 22.
Books
6. Hear Zadie Smith
At Barnard.
I didn’t adore Zadie Smith’s latest
novel, NW, but it is a measure of her
gift that this assessment affected my
overall feeling about her work zero
percent. Smith remains one of our
most interesting and ambitious novelists and one of my favorite literary and
cultural critics; you can hear her in both capacities—“Artist and Citizen,” as the
event title has it—at Barnard College, where she’ll read and discuss the
relationship between those two identities. —Kathryn Schulz
Event Oval at the Diana Center, November 14, 6 p.m.
127 Henry Street, New York, NY 10002 www.chapterTheater
ny.com
7. See Uptown Showdown
The Upper West Side’s argument clinic.
Past installments of this witty debate series have included “cats vs. dogs” and
“comfortable vs. fashionable”; this one, hosted by Kevin Townley and featuring
a lineup of very funny people, is “single vs. relationship.” Uh, do you bring a
date?
Symphony Space; November 13, 8 p.m.
TV
8. Watch Almost Human
Not just a copycat. New York Magazine, November 2013
The nerd put-down of this show is shaping up to be “I liked it better when it was
called Alien Nation.” But Almost Human has impressive production values and
two strong lead performances, by Karl Urban as the cop-on-the-edge John
C H A P T E R N Y!
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