ROGER ARVID ANDERSON
Statement About My Life and Work

Early Life

I was born in Saint Paul, Minnesota on August 20, 1946. I was raised in the historic Village of Little Canada, a suburb north of Saint Paul by Lake Gervais. My father, George Elmer Anderson (1907-1984, b. Stillwater, MN) was a prominent lawyer and Referee of the Probate Court. He was also a serious nature photographer and gave me my first lessons in the use of the camera. My mother, Betty Arlene (Nelson) Anderson (1922-2005, b. St. Paul, MN) was a fashion model for Dayton’s in Minneapolis. Her lifelong passion for clothes introduced the artist to notions of costume and style as well as a taste for textile and sculptural design. My sister Ruth Janet was born in 1950 and my brother, Paul Richard was born in 1957.

On my paternal side I descend from Jacob Andersson who emigrated to America just before the Civil War in 1855. He came with the first wave of Swedish emigration to what was then the Minnesota Territory. He was a stonemason in Stillwater on the St. Croix River. My grandfather August Anderson (1879-1966, b. Stillwater MN) at six-foot-three was something of a Viking adventurer. He worked at many jobs, from silver mining in Mexico to shoveling coal on a steamer to Yokohama. He ended up in a metal shop in Minneapolis as a tool-and-die maker. Nevertheless, he was a Homeric storyteller and was the life of any dinner table. My pursuit of story in his screenplays starts at my grandfather’s knee.

While my grandfather August Anderson roamed the world, the my father was raised on a dairy farm outside of Stillwater by his maternal grandparents who were German immigrants. Before coming to America the my great-grandfather Wilhelm Lueck (d. 1929) entered Paris with the Prussian Army during the War of 1870 with France. I spent many summer holidays and weekends on this farm with my divorced and solitary grandmother, Alvina Lueck (1883-1964, b. Stillwater, MN). Though much of the farm had been destroyed by a tornado I had the run of the fields and forests.

On my maternal side I descend from Arvid Nelson (1886-1966) whose family farm was on the Norwegian border in Varmland, Sweden. Fearing the war clouds in Europe, he emigrated to America in 1912, where his name was anglicized at Ellis Island. He settled on the East Side of Saint Paul, where he was a carpenter. With his wife Ethel Victoria Thimell (1893-1986, b. New London, MN), also of Swedish descent, they raised four boys and four girls.

My uncle, Arvid Nelson, Jr was my godfather. In honor of his grandfather and godfather, I changed his middle name to Arvid in 1971 (legalized in 1978), and habr used Roger Arvid Anderson as my signature name since then. On Easter Day 2012 I did a photo essay from the Brooklyn Bridge of New York harbor and the Statue of Liberty to commemorate the 100 year anniversary of my grandfather’s arrival in America.

In 1950 my father not only designed their home in Little Canada, but with the help of my two grandfathers, they also built the house themselves. The home was subsequently filled with Scandinavian modern furniture. As the descendant of a stonemason, carpenter and metalworker, I consider my work to be a family legacy with its roots in a Scandinavian appreciation of craft and functional design.

I was baptized and confirmed in Falcon Heights Congregational Church. My father had been raised Lutheran and my mother had been raised as a Baptist and compromised as Congregationalists. As a boy I read an illustrated book on the Egyptian pharaoh Ahkenaten and achieved a certain notoriety for failing Bible School after espousing the solar mysticism of Aten, whose hands descend as life-giving rays from the sun. I remain comfortable with that assessment of the church as ‘everything under the sun’, though I am also known to call myself a Zen Pantheist, with the understanding that Nature can be considered inherently divine and whatever stories or myths that we have are just that, stories, but stories meant to instruct us in life and its living.

Education

I attended Little Canada Elementary School (1952-1958) where my artistic facility was encouraged. As a boy I had a penchant for carving castles out of the groundhog mounds that dotted the field near my home. At the same time my neighbor Fanny Gillis was an art teacher and for many years I attended art lessons in her home. In my art class at Fairview Junior High School (1958-1959) I modeled in clay my first sculpture, which was a portrait bust of Albert Schweitzer. At Capitol View Junior High School (1959-1961) I was known for drawing giant murals. At Alexander Ramsey High School (1961-1964) I was the Art Editor of the school’s literary magazine. I continued to paint, draw and sculpt. Given my feeling for monumental scale I was invited to create a garden of giant flowers for a school dance on the theme of Through the Looking Glass based on Alice in Wonderland.

I spent my Freshman year at the University of Minnesota (1964-1965) before transferring to Dartmouth College in Hanover, New Hampshire. At Dartmouth (1965-1968) I was an International Relations Major. I was also a creative writing student of Pulitzer Prize winning poet Richard Eberhart, who brought many great poets to the college to read such as Auden, Richard Wilbur, Archibald MacLeish, Anne Sexton, Allen Ginsberg and Andrei Voznesensky. I won Dartmouth’s  Lockwood Prize for a poem in 1967 and on graduation in 1968 I was also awarded a Dartmouth Fellowship to attend Cambridge University.

I was a member of St. John’s College at Cambridge (1968-1970), where I was awarded The Master’s Prize in 1969 for a sequence of poems. I was a student of Modern History. My primary tutor, Sir Harry Hinsley, had been Churchill’s war strategy advisor. In December of 1968 I was recruited by some Czechoslovakian students to travel to Russian-occupied Prague to fetch a suitcase of mysterious papers. It proved to be an adventure out of a spy story and has informed my screenplay writing. Movies have always been  a passion of mine. I attended the Dartmouth Film Society’s programs with great zeal, and once at Cambridge I found a movie house near the college that showed film classics for a shilling. In December of 1969 I traveled to Morocco and went from Tangier to Meknes and Fez before bussing south to Marrakech, from there I crossed the Atlas Mountains into the Sahara desert. I stopped at the great mud-brick city of Ait Benhaddou, which at that time was still in a pristine state of near abandonment. During this trip I was introduced to Berber textiles and rugs, whose design sensibilities still inform my work.

Career

1971... I worked briefly for Harvard Press in Cambridge, Massachusetts in 1971. I also acted in three plays: Philoctetes, The Tempest, and the musical, Oh! What a Lovely War. In the fall of 1971 I lost my hearing for a few months to a rare virus, and was advised by my physician to move to a warmer climate.

1972 -1981... I moved to San Francisco in January of 1972. I soon found an apartment on Russian Hill overlooking a garden courtyard and the bay. Forty years later, as of 2012, it still remains my primary home and studio. I also found work with the Canadian Consulate (1972-1979), first with their Travel Bureau and then with the San Francisco office of the National Film Board of Canada as its west coast distribution agent for its documentary, animation and travel films. The NFB office was closed in 1979. I then worked briefly for the Western Journal of Medicine (1979-1981) as its distribution manager. In 1980 I injured my left knee in a running accident, whose severity was compounded by a near fatal bout of pneumonia in February of 1981, followed by surgery on the knee in June. During the worst of the pneumonia, my sinuses became so inflamed, and the pressure on my brain cavity so great that my eyes could not bear light and I was kept in the dark. I was warned by the doctor that I might die. For three days my life hung in balance. I thought of Robert Frost’s poetic mantra: “But I have promises to keep, And miles to go before I sleep.” Time suddenly became precious. Once the crisis had passed I resigned from the Journal and found myself either in bed recuperating or on crutches and canes for much of 1981. However the year at home allowed me the free time to hobble around a sculpture stand. My health improved and my life changed. I gave up office work for a career in the arts.

1981... I became self-employed as an artist and fine art consultant. As a consultant I have specialized in sculpture and the decorative arts. I have helped build private collections , such as the Mitchell Wolfson Collection of Decorative and Propaganda Arts in Miami Beach, and in 1989 I installed a private museum of Art Nouveau in Tokyo. As of 2012 I remain active within museum and collecting circles.

Sculpture

In 1974 I audited a course in bronze casting given by San Francisco State University, which was taught by Don Ritch at the Berkeley Art Foundry on Gilman Street. At that time I was a collector of Japanese metalwork as well as Renaissance statuettes, plaquettes and medals. My first bronzes, which were either vessels, reliefs or small figures, were inspired by these collecting interests... During the 1980’s, once I became self-employed, I became increasingly active as a sculptor.

From 1980 to 1985 I learned the principles of investment casting and metal-finishing from Rolf Kriken at Nordhammer Art Foundry in Oakland. In 1986 I began casting with Piero Mussi in ceramic shell at Artworks Foundry in Berkeley. As of 2012 Artworks Foundry remains my primary foundry.

During the 1980’s I completed my first body of mature works as a sculptor. The style was informed by constructivist principles as the sculptures were frequently built from cutting up and bending wax sheets. Shapes were often vessels or stylized animals or figures with body armor. A series of bronze discs with topographical references were inspired by Neolithic jade discs. I regard the Chinese Exhibition of Archaeological Finds shown at the Asian Art Museum of San Francisco in 1975 as one the most influential in the evolution of my style. As a collector of Japanese bronze vessels, Japanese aesthetics were equally influential as well as the terracotta figures of the Haniwa era. From one stand point it could be said that I have created my own fantasy civilization. Various series from this period (1978-1989) are called Imaginary Digs, Inner Sanctum and Metaphysical Landscapes.

In 1990 the Minnesota Museum of Art in Saint Paul featured a selection of these bronzes along with the work of Paul Manship and Donald DeLue in a show titled, “Mythic Sculpture.” I narrated a half-hour film based on the show directed by Slavko Nowytsky. The museum also purchased the horse head, Bucephalus, which was the name of Alexander the Great’s battle horse.

From 1989 to 1995 I kept a giant studio at 2200 Adeline in Oakland. The spacious floor plan allowed me to keep at my fingertips what I called ‘a palette of shapes’. The wood shapes were either drawn from carpentry shop discards or shapes I cut from a jig-saw or had cut to order. The creative method here owes much to collage and ‘assemblage’ . It can also be considered constructivist and architectonic as I fabricated ritual sites, which I call Temples and Towers. I also fabricated a series of wall reliefs, which I call Retablos. They are designed to act as personal altars or frameworks for a votive offering. I also designed three urns from turned wood with geometric detailing, which I call Three Magi. While these sculptures are made from wood, they are meant to be molded and cast in bronze.

The Loma Prieta Earthquake of October 17,1989 destroyed most of the wood models in my Oakland studio. During the process of rebuilding the work the sculpture Temblor was created to commemorate the event. The Oakland Hills Firestorm of October 20, 1991 also threatened the building as ash and cinders rained from the sky. The sculpture called Zarathustra commemorates that event. Five temples in this series were cast in bronze in 1990 for the Mythic Sculpture exhibition in Saint Paul.

In 2003 I began a major new body of sculptural work that draws from a style I call Geological Cubism. The sculptures are ostensibly stacks of irregular shapes made from armature foam which comes in a variety of grains. Geological time is condensed as the artist attacks the foam blocks with chisels, wedges, hammers, and knives causing tears and fractures that can be further torn by hand or sliced by a Japanese long-handled handsaw whose frequent tooth marks or striated patterns are welcomed for their spontaneity. The shapes can also include clay and plaster texturing. One of the series is called Trail Markers. Philosophically they are meant to be an imaginative engagement with the notion of landscape as a spiritual reservoir, and owe a historical debt to the Scholar Stones of the classical Chinese literati, and to the combed gravel and momentous stones of Japanese Zen gardens.

My miniature mountains are also specific in the sense that they evoke the American landscape, especially the dramatic geology of the West. They’re also indebted to all those hikers who pile stones to mark a path or trail through the wilderness. By extension they can perhaps be thought of as symbolic stations on a journey somewhere through the imagination of the viewer. Another of the series is called Constellations. These are stars whose titles are drawn from classical myths while at the same time as objects they roam the heavens. If stars are fiery balls of light, then these sculptures are the cool remnants of a galactic crucible. Two other series are called Poetic License and Three Haiku Masters. These are either abstracted, symbolic portraits or evocations of literary legends. They can also be regarded as reliquaries drawn from spiritual enlightenment, or as genus of calligraphy done in three dimensions.

In 2010 I cast two large bronzes each with their own unique history:

Popol Vuh is a three-quarter relief with a back panel and is 52.5 inches high. The Popol Vuh is the Mayan creation story and the primary source for many other Native American creation stories. The sculpture is subtitled: Emergence, The First People as it portrays two elemental figures emerging from the primal mud. Popol Vuh was installed in May of 2010 on Canyon Road as a tribute to the 400th anniversary of the founding of Santa Fe, New Mexico.

Homage to the Cube was cast during the summer of 2010. It is a nearly four foot prototype for a monument meant to be fabricated at 18 feet in corten and stainless steel. The design has evolved over 22 years. It was first started in 1988 as an entry archway for an apartment complex, and then substantially revised in 1999 as a millennial celebration of the cube as the building block of civilization. The four panels of the column supporting the cube each feature one of the primary forms of the geometric canon: the circle, the square, the triangle and the cross. The Frost Museum at Florida International University in Miami has had it on display since December of 2010.

As of 2012 I have cast over 85 different sculptures in bronze and has also created over 54 sculptures in wood.

Photography

My father was a gifted nature photographer and my first master. Father was a methodical photographer and was acutely aware of the value of composition. He gave me my camera and a roll of film and told me to never try and take a picture of the sun. As might be expected, my first photograph was a picture of the sun taken through the fluffy orb of a giant dandelion that had gone to seed. My father taught me how to turn a man’s hunting instincts into a game of creative stalking as you track down a great shot. This requires not only an eye, but a nose to know when to stop, frame and snap.

As a boy I received a gift subscription to the National Geographic Magazine, which introduced me to the great nature and travel photographers of the day. My mother had been a fashion model and she kept stacks of Vogue and Harper’s Bazaar about the house, which introduced me to the fashion photography of Avedon and Irving Penn.

Father liked slide shows. So, he kept me stocked with slide film when I went away to Dartmouth as I began to methodically record my life in the manner of a documentary photographer. While at Cambridge Father arranged for me to receive free slide film from Fuji. He also gave me a 35mm Mamiya Sekor 1000TL camera with a sophisticated lens. My two years at Cambridge allowed for extensive travels throughout Europe during school holidays and over the summer break. Those slides survive and are housed in an archive at the University of Minnesota.

In January of 1972 I moved to San Francisco. My apartment was just up the hill from the Palace Theater where the infamous and now legendary Cockettes performed ridiculous musicals in provocative and imaginative costumes. It was the age of psychedelic color and drug-heightened perceptions. Camera-in-hand I talked my way backstage twice and snapped his first serious photo essay, a sequence I call Stage Struck. I told the cast to pose like he was doing a cover story for Vogue. In November of 2011, selections of those images were featured on a full wall at the Museum of Contemporary Art, Denver for the exhibition, West of Center: Art and the Counterculture Experiment in America, 1965-1977.

During the 1980’s much of the my photography was documentary, recording in color either travels such as my visit to China in 1986, and Mexico in 1987, or artworks in the collections that I represented as an art consultant. In October of 1989 the Loma Prieta earthquake destroyed most of the wood temples in my sculpture studio in Oakland.

My photographic record of that destruction and the spontaneous geometry it engendered inspired me to begin photographing in B&W with the essay format in mind, but with a new focus on more radical compositions. I studied darkroom technique and used that opportunity to create a set of elaborate photograms requiring stencils and remarkable shapes in clear plastic and glass. I also began extensive shooting using a classic 35mm Olympus OM-1. I used two 120mm cameras: a 6x7 format Mamiya RB67, and a 6x9 format Fuji GW690II. The film was Kodak’s high resolution TMax. I continued shooting documentary projects such as the foundry as well as more abstracting essays. In 2008 I began shooting in color with digital cameras. Delighted by the challenges of color I soon bought a Canon Powershot G10, and then graduated to a G12 in 2012.

Photo essays include...

Stage Struck, Backstage with the Cockettes, Psychedelic San Francisco, 1972
The Age of Bronze, the foundry as both cottage industry and global village
Hot Shot, the bronze sculpture of Peter Voulkos
Shadow-Boxing, framing shadows without objects
Street Smart, graffiti in the 1990‘s in New York and San Francisco
Bravado, the Italian-American male in Boston in the early 1990’s
The Square Circled, Times Square torn down and rebuilt
Urban Zen, giving in to serendipity, found still-lifes in a city setting
Window-Shopping, the store window as theater and commercial altar
Zeitgeist, signs of the times
Yellow Brick Road,  the people of the annual Pride Parade in San Francisco
Folsom, the people of the annual fetish fair on Folsom Street in San Francisco
Tender is the Light, an essay on light and architectural detail
Sic Transit Gloria Mundi, people on the move or just passing by
Denkmal, beyond words, the holocaust memorial, Berlin, 2010
Tempelhof, the stones and shadows of Berlin, 2010

Star-Spangled, picturing America after 9/11, from Cape Cod to the Santa Monica Pier

My essay on America after 9/11 is considered to be the largest of the aftermath essays at 32,000 images taken on 35mm and 120mm B&W film. For those who never got to walk among the memorials at Ground Zero, this will be their chance, and for those who never left Manhattan this will be their chance to see how the rest of the country responded: the people, the places, the insightful crayon drawings of children, the desperate messages of hope for the missing followed by the inevitable memorials posted in door wells and windows all over America. In my yearlong journey recording this heartfelt phenomenon I packed two cameras and wore out three pairs of sensible shoes. I walked through cities, towns and villages from as far as Cape Cod on the Atlantic, to Minneapolis and Saint Paul on the Mississippi, to the Santa Monica Pier on the Pacific, that is from sea to shining sea.

Painting and Drawing

In 1971 while living in Cambridge Massachusetts I deliberately pursued a regimented realistic style for both drawing and painting in watercolor. After two years of photography in England and Europe I wanted get his drawing hand back in shape. I was inspired by the crisp contour drawings of Ingres who sketched the French elite living in Napoleonic Rome. After moving to San Francisco in January of 1972 I decided to follow Ingres’ lead and began sketching the new people I was meeting including Armistead Maupin, my garrulous neighbor on the next block with a rooftop eerie overlooking the bay. I also painted watercolor portraits of my friends as well as body studies plus a series called the Daughters of Nefertiti, inspired with my childhood fascination with Ahkenaten. Much of this work survives in the archive at the University of Minnesota.

During the 1980’s I was introduced to American Minimalism and Russian Constructivism in a series of exhibitions put on by a gallery in San Francisco called Modernism. By the 1990’s my drawings and paintings had taken on a distinctly geometric re-orientation. My photograms in the early 1990’s show the same concern for isolating dramatic geometric configurations. I was also partial to small scale paintings and drawings during a time when the monumental was in vogue. My interest in textiles and patterns and grids also emerged as a design element in his work, and as of 2012 remains a constant in my current work.

Poetry and Song Lyrics

I was introduced to poetry in 1965 by the compelling lectures of Professor Richard Shaw at the University of Minnesota. Shaw had the class read both the song lyrics of Bob Dylan and Sailing to Byzantium by Yeats. T.S. Eliot also died during the course and was remarked upon with a certain bitterness as a forgotten poet. Shaw’s lectures had a theatrical flair but as he analyzed poems It felt like a key turning in a lock and opening a door.

I soon began writing poetry myself and after moving to Dartmouth College I took a creative writing course with Richard Eberhart (1904-2005, b. Austin, MN), whose book Selected Poems 1930-1965 won the 1965 Pulitzer prize for poetry. Eberhart and his wife included me in many of the soirees they held in their home for visiting poets after a reading in Sanborn Hall. Eberhart like me was also from Minnesota, had studied at the University of Minnesota before transferring to Dartmouth. After I received the Lockwood Prize in 1967 for one of my poems, Eberhart encouraged me to apply to his college at Cambridge. Upon being accepted, I continued writing poetry while at St. John’s College, Cambridge and won The Master’s Prize in 1969 for a sequence of poems.

I have written poetry throughout my life. In the 1990’s I found myself favoring the sonnet format and eventually the four-line quatrain. I also wrote song lyrics after an intensive study of the American Songbook as well as the Blues.

In 2012 I did a comprehensive visit of his poetry and song lyrics, and after some sustained rewrites organized them into the following volumes.

Great Themes, Great Ghosts, Poems 1967-1985
The Lamentations of Faustus
Truly Human, 60 riffs on the sonnets of Michelangelo
Changing Your Life, Collected riffs on the sonnets and shorter poems
                                of Rainer Marie Rilke
I Cry Too Easily, Selected Lyrics
Very Green Bananas, Selected quatrains

Plays

Ernestine, The Musical
Zelda, The Musical
Angelfish, The Musical
Popol Vuh, Folk Opera
The Boy Who Could Talk to Whales, a play in 2 acts

Screenplays

The Promised End (1975)
Slow Dancing in the Snow
Sleeping Dogs
Red Sky in the Morning
Santa School
The Last Breath of Pablo Olivera

Essays

Four Worlds, 1986
The Body as Temple, A Self-Portrait in Wood, 1989
Excavations, 1990
Mythic Sculpture, narration script of the film, 1991
The Crucible as Volcano, 1992
Metaphysical Landscapes, The Where and the Why, 1997
The Medium is the Message, 30 Years of Casting Bronze, 1974-2004
Tabula Rasa, Sculpture 2003-2007, catalog with 4 essays, 2007
       Artist’s Statement, About the Trail Markers,
       About the Constellations, Three Haiku Masters
Shutterbug, A Memoir, 2009
Star-Spangled, The Journey, 2009
Homage to the Cube, The History of a Sculpture by the Sculptor, 2010
Stage Struck, The Way I See It, Recalling 1972, 2011
Stage Struck, Midnight & the Music, an interview with Scrumbly Koldewyn, 2011
Stage Struck, In Our Fashion, an interview with Billy Bowers, 2011

Selected Exhibitions

“West of Center: Art and the Counterculture Experiment in America, 1965-1977”,
Nov. 10, 2011 - Feb. 19, 2012, Museum of Contemporary Art Denver, CO
Sept. 29, 2012 - Jan. 6, 2013, Scottsdale Museum of Contemporary Art, AZ
Feb. 8, 2013 - April 28, 2012, The Jordan Schnitzer Museum of Art,
           University of Oregon, Eugene, OR
June 12, 2013 - Aug. 25, 2013, Mills College Art Museum, Oakland, CA

Aug. 3 - Sept. 3, 2012... “Visions of Northern New Mexico”,
           New Concept Gallery, 610 Canyon Road, Santa Fe, NM

Dec. 31, 2011 - Jan. 29, 2012... “Cockette Close-Up”, (photographs from 1972),
           Steven Wolf Fine Arts, 2747 19th Street, San Francisco, CA

Sept. 2 - Sept. 25, 2011... “Abstract Paintings, Monotypes and Sculpture”,
           New Concept Gallery, 610 Canyon Road, Santa Fe, NM

May 19 - May 22, 2011... Featured bronzes: “Three Trail Markers”,
          artMRKT, The Contemporary and Modern Art Fair, San Francisco 2011
          101/ Exhibit of Miami at the Concourse Exhibition Center

Aug. 27 - Sept. 26, 26, 2010... “Abstraction”,
           New Concept Gallery, 610 Canyon Road, Santa Fe, NM
           Galileo, featured sculpture in gallery ad, Art News, Sept. 2010, pg 68

May 14 - June 13, 2010... “Tribute to Santa Fe’s 400th Year”,
           New Concept Gallery, 610 Canyon Road, Santa Fe, NM
           “Popol Vuh; Emergence, the First People”, featured bronze

Sept. 1 - Oct. 3, 2009... “Objects: Mixed Medium”,
           101/Exhibit, 101 NE 40th Street, Miami, FL

Sept. 19 - Oct. 17, 2008... “Roger Arvid Anderson: Masterworks in Bronze”, 
           New Concept Gallery, 610 Canyon Road, Santa Fe, NM

Jan. 31 - April 22, 2005... “A Group Sculpture Exhibition”,
           The Brentwood Arts Commission, Brentwood, CA

April 1 - April 27, 2004... “The Road of an Artist: Trail Markers”,
           Dovetail Design, Chico, CA

Aug. 1 - Oct. 1, 1997... “Bay Area Artists”,
           Westside Bronze Gallery, Santa Fe, NM

June 11 - Sept. 10, 1997... “Bronze Landscapes”,
           National Semiconductor Corporation Gallery, Sunnyvale, CA

Aug. 2 - Nov. 2, 1995... “Society of Western Artist’s Exhibit”,
           Synopsys, Inc. Gallery, Mountain View, CA

May 20 - July 27, 1994... “Beyond the Facade: Architecture in Art”,
           Syntex Gallery, Palo Alto, CA

May 4 - Nov. 3, 1994... “Cosmos”,
           Synopsys, Inc. Gallery, Mountain View, CA
           Corporate Purchase: “Floating Cross”

May 30 - Nov. 15, 1992... “Plaza Art 92”,
           Mountain View Civic Center, Mountain View, CA
           City Purchase: “Storm Lord”

Nov. 17, 1990 - Jan. 6, 1991... “Mythic Sculpture: Manship, DeLue, Anderson”,
           Minnesota Museum of Art, Saint Paul, MN
           Film: Mythic Sculpture, by Slavko Nowytsky, narration by Roger Arvid Anderson
           Museum Purchase: “Bucephalus”

Art Market

Roger Arvid Anderson is represented by galleries in Santa Fe, San Francisco, Berkeley, Miami, West Hollywood and Portland.

Further Reading

West of Center: Art and the Counterculture Experiment in America, 1965-1977,
           Univ. of Minn. Press, 2012, ed. Elissa Auther and Adam Lerner, page 78

Upheaval’s artistic legacy: MCA Denver mounts a fascinating look at the   
           counterculture’s lasting impact, a review by Kyle MacMillan,
           The Denver Post, Nov. 22, 2011, featured photo credit:
           Roger Arvid Anderson, “The Cockettes, Wally,” 1972

Cockette Close-Up, Sneak Preview Edition, Psychedelic San Francisco, 1972,
           Photographs by Roger Arvid Anderson, Book Design: David Wilson, 2011

Master Sculptor Indeed, a review by Michael Abatemarco,
           Santa Fe New Mexican, Pasatiempo, Sept. 26, 2008, page 29

Tabula Rasa, Sculpture 2003 - 2007,
           A catalog of images with 4 essays by Roger Arvid Anderson

Exquisite Craftsmanship, a review by Clancy Callahan,
           Chico Enterprise Record, The Buzz, April 8, 2004, page 15