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Walter Andersons

Ten In One Gallery

Walter Andersons’ scrupulous trompe l’oeil paintings wryly comment on issues such as representation, photographic reproduction, and the mechanics of art history. He combines fastidious pictorial realism with a kind of fragile, narrative whimsy, creating work that both pays homage to and subverts his mostly art-historical subjects. In the small and teasing picture, 1996, Andersons faithfully copied in acrylic paint a handwritten recipe for the image—“titanium white/ivory black/raw umber/picture.” Though painting is here reduced to its components, it somehow retains a poetic quality. The words have become simultaneously literal and visual, calling attention to the pictorial nature of letters and their application to surfaces.

Most of Andersons’ work involves the precise rendering of photocopies of print material—catalogues, magazines, etc.—taken from the art world. His paintings, immersions

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