In the fledgling stages of his career, Anders Lindseth is at a crossroads. Lindseth is juggling the daunting task of building a serious practice as a painter, while simultaneously establishing a strategy for creating an outlet for young art collectors. The COMP Magazine caught up with Lindseth at his North Mendell Street studio to discuss the outset of his investigations, the series Historically Relevant But Not Necessarily Indicative of My Point of View, the tactile experience of painting, and his curatorial project with Claire Molek focused upon heightening the awareness of Chicago’s emerging talent.
Anders Lindseth, Bull, oil on canvas, 60×48 inches, 2015
You grew up in Cleveland, Ohio, studied out in the northwest, and then landed in Chicago to complete your studies at SAIC in studio art. Can you identify any specific events that have informed your aesthetic practice?
Growing up, creative pursuits were never really presented as an option, even though I was spending virtually all of my time drawing. I ended up at the University of Montana as a result of my misdirection and quickly realized I was out of place. While there, I was really forced to reevaluate what I cared about. I specifically remember one phone call with my dad, who told me to use painting as a way to cope with stress. It was in these moments that I realized I should to go to art school.
When I began painting, much of what I was working on dealt with the wilderness. I’ve always been happier being outside and I think just the fact that I’m in Chicago, with a serious lack of accessibility to the mountains and the woods in grew up in informs my practice quite seriously. Each series I work on tends to deal with a different subject I find to be curious, and with that comes different trains of thought. Currently I’m working on a series focusing on spectatorship and synecdoche. “We won the Superbowl!” I’m not making any grand statements on anything I paint about, but instead finding a muse and pointing out something I find interesting.
As far as any specific events that helped me come to a point where I find color and how it’s used, and the innate inquisitiveness in whatever it is I’m interested in, I’m not sure. I’m always trying to figure things out, and when I notice something that I think is a little “weird,” I just have to find a way to understand it.
Anders Lindseth, -2000, oil on canvas, 45×30 inches, 2015
I’m interested in the series Historically Relevant But Not Necessarily Indicative of My Point of View. So, what is the attraction to beastly fauna, myth and fables?
I find animals to be great metaphors for people, and especially for certain parts of people’s personalities. In my series Jaguar and the Millipede the dog might represent a few different things, and as you follow the story it becomes clear that the desperate desire for approval from somebody that is self involved can be unwavering. Historically Relevant But Not Necessarily Indicative of My Point of View is more of a reaction. What I’m interested in as far as fables and myths go, is that they are in paintings, all the time. The way that these images have been used for hundreds of years, and the way they’ve been able to maintain what they represent to people is something that I found really intriguing.
Anders Lindseth, -2000 (detail), oil on canvas, 45×30 inches, 2015
What is the status of your current investigation? At your studio presently, you are working upon a series of large paintings with a focus upon immense groups of people interacting in unison. Are you fascinated by mob mentality? What draws you to this subject? What do you hope to convey?
So far I haven’t gotten to do much research into Crowd Psychology. I’ve just sort of been doing some speculation and analysing it from my own perspective. Either way, I’ve always found large groups of people to be quite curious in many ways. How they react in unison, how they identify themselves as part of the thing they might be spectating, action, reaction and the loss of individuality. I don’t plan on making any sort of statement on “crowds” they are beautiful and strange but I’m still trying to figure it out, so my point of view might change.
Anders Lindseth, Old Friends I Don’t See Anymore #1,
oil on canvas, 36×62 inches, 2010
I see an intentionally heavy handedness (one might even describe your technique as crude and clumsy) in you drawings and paintings. Can you describe how your tactile methods intersects with the philosophical issues you are looking at?
I think my crude style in part came from spending a long time looking at the german group Die Brücke. They showed me that you can convey emotion through the way you use a brush, pencil or whatever. I think of it as a more honest approach to dealing with these philosophical inquiries.
Anders Lindseth, No Good, charcoal on canvas, 28×36 inches, 2014
What do you enjoy in the art making process?
For me, making art is a way of answering questions.
Anders Lindseth, -1963, oil on canvas, 45×30 inches, 2015
Installation view from the exhibit “It’s Too Late” at Zhou Brothers Art Center, Chicago
At present you appear to be working upon setting up a gallery with Claire Molek. One of the areas you mentioned prompted this effort is your interest in tapping into a younger generation of art collectors. Do the two of you have a specific focus for this new venture? Any specific timeline?
Yes! We’re opening a storefront space that will house a large collection of works from emerging artists. So far our database is mostly made up of Chicago artists with a few exceptions in Seattle. I’ll be managing the collection and curating the works included.
The problem we’ve been faced with, as artists, is that young people aren’t buying as much original art as they used to. We’re creating an environment that will help inspire people to begin collecting while engaging them in an education so they can be more confident in approaching galleries and artists as they continue their own collections. We’re planning on opening the space this summer so follow our Instagram to stay up to date @artwingcontemporary .
For additional information on the work of Anders Lindseth, please visit:
Anders Lindseth – http://www.anderslindseth.com/
ArtWing Contemporary – http://www.artwingcontemporary.com/
Huffington Post – http://www.huffingtonpost.com/vivien-lesnik-weisman/title-chicago-seven-bring_b_6792718.html
On Instagram – @hood_rich_pimp
Anders Lindseth, artist and curator, 2016
Interview and portrait by Chester Alamo-Costello
