ABOUT THE BOOK
Spanning nearly five decades of David Kimball Anderson’s work, this monograph presents a comprehensive look at the artist’s practice. Curator Susan Hillhouse notes, “Not only is his work aesthetically sound, the clear articulation of his sensitive and unique vision is profoundly compelling. His art is never obvious, never redundant and never overworked. Rather, it has a beautiful, economic mystery about it.” Anderson’s sculpture manipulates a range of materials—steel, fiberglass, bronze, aluminum, wood—to create objects that appear simultaneously delicate and heavy, industrial and exquisite. The book also includes an insightful essay by MaLin Wilson-Powell and a full chronology of Anderson’s work to date.
ABOUT THE ARTIST
David Kimball Anderson, born in Los Angeles in 1946, has been a practicing studio artist since 1969. Anderson attended the San Francisco Art Institute in the late 60s and focused studies with Bruce Nauman and James Reineking. Anderson is the recipient of three National Endowment for the Arts Individual Fellowships, a Pollock-Krasner Foundation Grant, a John Michael Kohler Arts in Industry Residency Grant, and he was the sole recipient of the SECA Award from the San Francisco Museum of Modern Art in 1973. Anderson began his exhibition career with a one-person show at the Berkeley Art Center in 1972, followed by another solo exhibition at the San Francisco Museum of Modern Art in 1973. In 1975, he was included in the Whitney Biennial, Whitney Museum of American Art, New York. His first solo exhibition in New York occurred in 1978 with the Braunstein/Thorpe/Kind collective space at 139 Spring Street. Anderson continues to exhibit regularly both nationally and internationally.
ABOUT THE AUTHOR
MaLin Wilson-Powell is an independent writer and curator, active in the art world since 1972. As Curator at the Museum of Fine Arts, Santa Fe (1977-78); assistant to photo-historian and McArthur Fellow Beaumont Newhall (1980-85); Director of the Jonson Gallery (1985-1989), then the contemporary branch of the University Art Museum, University of New Mexico (1985-89); and, the first Curator of Exhibitions and Curator of Art after 1945 at the McNay Art Museum, San Antonio (1999-2004), her orientation has always been to encourage engagement with the arts audience as a public intellectual. She has curated over twenty-five exhibitions with publications; written over three hundred articles, and edited two collections of art criticism: The Hydrogen Juke Box: Selected Writings of Peter Schjeldahl (well-known New York critic associated with the Village Voice), published by the Univ. of California Press, 1991; and Last Chance for Eden: Selected Art Criticism by Christopher Knight, 1979 -1993 (Art issues. Press, 1995). In 1994 she received a national Chemical Bank award for distinguished newspaper art criticism for her criticism column in the Albuquerque Journal NORTH (1992-1999). Through 1999, she also contributed to regional and national periodicals including ARTFORUM, Art issues and the Los Angeles Times. Her recent projects include the keystone essays for the artists monographs Janet Russek: The Tenuous Stem (Radius Books, 2013); Jerry West: The Alchemy of Memory (Museum of New Mexico Press, 2015); John Connell: Works 1965-2009 (Radius Books, 2015); Jim Waid Paintings (Last Chair Media, 2016); and, Tom Joyce: Works 2002-2017 (Radius Books, 2017). She curated the major traveling exhibition and co-edited the publication Mabel Dodge Luhan and Company: American Moderns and the West (Museum of New Mexico Press, 2016). Forthcoming is the catalogue for the traveling exhibition: New Beginnings: An American Story of Romantics and Modernists in the West (Tia Collection, 2018).