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Mamma Andersson, Hobnob, 2010, acrylic and oil on panel, 48 x 59".

Mamma Andersson

Aspen Art Museum

Mamma Andersson, Hobnob, 2010, acrylic and oil on panel, 48 x 59".

In 2004, the Swedish painter Mamma Andersson was included in a show at LA’s Hammer Museum called “The Undiscovered Country,” which explored a postmodern take on representation described by curator Russell Ferguson as a strategy of “painterly ambiguity.” At the time, Andersson was not well known in the States, yet it was immediately clear that her paintings epitomized an approach to form that could be characterized in Ferguson’s terms: Old dichotomies of abstraction and figuration had been erased, and art history had become available as a kind of stylistic smorgasbord to be drawn on at will. Despite the artist’s inclusion in the 2004 Carnegie International in Pittsburgh and several solo shows at major American galleries in years since, her elusive, forlorn painterly world would not make its solo debut in a US institution until this past winter, when thirty of the Swedish artist’s

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